Created for a group exhibition conceived as an Advent calendar to support women’s visibility, this fully embroidered work draws on pre-Renaissance religious iconography and its virtuoso treatment of drapery.
The figure appears both present and dissolving. Some may perceive a body, others only a breath. This oscillation is integral to the work. It echoes the logic of memory, where forms emerge in fragments, or return without ever fully settling into clarity.
The palette refers to Marian tradition. Yet here, the Virgin withdraws. Her body is no longer depicted, only suggested within the movement of the fabric.
This withdrawal shifts the codes. The female figure escapes its role as an icon to become a moving, self-reclaimed presence, embedded in the materiality of the folds. The drapery becomes a site of memory, a presence left behind by the body.
The figure appears both present and dissolving. Some may perceive a body, others only a breath. This oscillation is integral to the work. It echoes the logic of memory, where forms emerge in fragments, or return without ever fully settling into clarity.
The palette refers to Marian tradition. Yet here, the Virgin withdraws. Her body is no longer depicted, only suggested within the movement of the fabric.
This withdrawal shifts the codes. The female figure escapes its role as an icon to become a moving, self-reclaimed presence, embedded in the materiality of the folds. The drapery becomes a site of memory, a presence left behind by the body.