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Der Kopf ist rund, damit das Denken die Richtung wechseln kannGalerie Brugger

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Galería Picnic / Elisa Pardo Puch

Elisa Pardo’s practice is multidisciplinary and combines drawing, textile techniques and installation, amongst other media. Her work explores processes of transformation, the unconscious, desire, memory and pleasure, bringing to the fore narratives that have been marginalised by dominant historical discourses. Repetition is a central principle of her practice, both in form and process, and generates a poetics of insistence and duration. Through an intuitive and repetitive practice, the creative process becomes a space for reflection and channelling. Drawing and textiles also function as conceptual tools, linked to the so-called ‘minor arts’, women’s labour and the reuse of materials. Through these languages, Pardo champions collective forms of knowledge, alternative economies and sustainable practices. Her research engages with the Arts and Crafts movement, the Bauhaus, vernacular crafts and feminist DIY (do-it-yourself) cultures, proposing a practice in which art, craft, thought and everyday life are interwoven from a perspective of care, agency and resistance.
Suculenta Araña is a textile sculpture that follows the growth pattern and weave of a patchwork module –almazuela. This two-dimensional geometric pattern is scaled up to an architectural scale by increasing its size and projecting the centre of the model onto a third spatial axis. The piece grows radially: it starts from a centre, and the same shapes – made from transparent PVC plastic and grey waterproof acrylic fabric – are repeated and sewn onto an unbleached cotton base, following the same pattern and forming four walls. This technique of using a base onto which textiles are attached, creating a front and a back to the piece, is characteristic of patchwork, a textile upcycling technique still practised in La Rioja, which follows geometric patterns that, when combined across several modules, generate designs. The word almazuela derives from musalla, which in Arabic means place of prayer. There is a profound link between the everyday tasks carried out by women and the creation of spaces. The piece transcends its intimate relationship with textiles and becomes an architectural element. It takes over the space, showcasing the knowledge and techniques that have accompanied humankind since its earliest days – practices, knowledge and ways of working that have been part of popular culture, particularly amongst women, and have therefore been silenced and disparaged.
This piece is accompanied by two others, which are closer to two-dimensionality and follow the same pattern of growth as the patchwork, where stitching begins at a centre and continues in a spiral: Nido incorporates various salvaged objects, collected by the artist, and scraps of fabric onto a found transparent plastic base. The piece is conceived as a whirlpool that absorbs whatever it encounters, like a magpie’s nest. Mariposa, the final piece, also lies at the intersection between the sculptural and the two-dimensional. It is based on a classic patchwork design, whose characteristic pattern emerges when the different modules –in which light and darkness are separated– are joined together. The four pieces are made from waterproof acrylic fabrics and transparent PVC plastic on a base of unbleached cotton, with the sections joined together using metal clothes pegs. The geometric growth pattern found in the pieces is present in succulent plants, the webs spun by spiders, the architecture of Mesoamerican pyramids and in the patchwork quilts of La Rioja.
— Text: Picnic, Elisa Pardo Puch























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