2019, Installation: Pantyhose and rocks

Gallery of the Notre-Dame-de-Grâce Cultural Centre, Montreal, Quebec, Canada

Synapse in French and English (or Sinapsis in Spanish and original Greek) means "conjunction." This word is commonly used to refer to the point of contact between two nerve cells in the brain.

The textile in situ installation of the same name highlights stories structured by the memories, experiences and places that shape us. The large-scale work, composed of stretched pantyhose, unfolds in the space like an organic framework, becoming an invitation to reconsider the tension between our bodies, territories and borders.

Synapse explores and reflects on the notion of connections: intellectual, spiritual, emotional, physical, and spatial connections. Personal, social and cultural connections. Historical, geographical, political and environmental connections. Connections of the body with the place it inhabits. Connections with oneself and with others. Connections with our community.

Objets personnels / Personal belongings / Objetos personales


2018, 55” Touchscreen.

Participatory Project, involving 21 immigrants from Latin America, currently living in Montreal, Quebec, Canada

This interactive piece is the result of a collaboration between Maria Ezcurra and Nuria Carton de Grammont for the Connections Exhibition at the Montreal Museum of Fine Arts, supported by the Canada Council for the Arts Program New Chapter

Objets personnels exhibits 21 testimonies and objects brought by immigrants from Latin America and some Caribbean countries when they moved to Quebec. With this piece, we intended to re-signify the Art of the Americas Collection of the Montreal Museum of Fine Arts from a participative, diverse, inclusive and postcolonial perspective, creating a collection of personal artifacts, selected in collaboration with the Latin American and Caribbean community in Montreal.

Participants: Abigail Borja Calonga, Rodrigo Buitron Lara, Lidoly Chávez, Eduardo Cruz Alonso, Lydie Dossous, Víctor Espíndola, Daisy Espinoza, Aldyth Irvine Harrison, Sofía Llamas, Adelaida Loreto, Amalia Membreño, Anaïs Montenegro, Flavio Murahara, Tatiana Navallo, Osvaldo Nuñez, Juan Esteban Parra Bermúdez, Martha Remache, Natalie Tavarez, Eduviges Tuctuc, Felipe Varela, Marta Vizcarra.

Photos: Freddy Arciniegas / Video: Germán Andrés Moreno Rojas and Diego Rivera Kohn / Interface: siete|media



Labyrinth made with reflective emergency blankets

Red Roots/Green Lands


“The workshop Red Roots/Green Lands invites participants to reflect on the historical and cultural roots of Brazil through the symbol of the pau-brasil (brazilwood) tree. This tree gave the country its name and is inextricably linked to its colonial history. An abundant resource when Portuguese colonizers arrived in the 16th century, brazilwood was rapidly and intensely exploited by the Portuguese – through the labour of indigenous and African slaves – in order to extract red dye used by the European textile industry.



Uncover is a participative installation made with the clothes and bodies of the museum’s visitors. Either by leaving their garments cut and extended on the wall as a textile installation, or by tracing their silhouettes on the walls, participants’ individualities became part of a collective experience.

Pinned Down


Pinned Down (or how to keep hiding thousands of needles in a haystack) is a participative piece made of 100,000 pins. It represents the number of people who have been killed and disappeared in Mexico over the last decade in the name of the so-called "Drug War," highlighting the recent massacre of the 43 students from the Ayotzinapa Rural Teacher's College. This stack intends to materialize a number so big that ends up dehumanizing death, catalyzing a reflection on the many complex forms of violence unfolding in Mexico while linking personal decisions to social issues.



Fur coats (from different animals), cut and extended on the wall

Made in China


The installation is composed of clothes labeled “Made in China,” donated by the community and set in a Chinatown alleyway. This collaborative piece functions as a façade filling an empty space between two buildings, creating in this way not only a commercial, but also a physical and a symbolic connection among cultures and individuals.






Action serie

Hair by hair


Action made with my family.



Performance. Made with the collaboration of Stefanie Buxton.



Collaborative performance involving a group of women wearing transformed dresses into public spaces to explore the complex personal and cultural processes implicit in marital relations, reflection of the society in which we live. We intended to collectively explore and represent current normative structures and processes of public pedagogy implicit in the construction of (traditional) gender identities.

Displaced (with Jennifer Wicks)
Displaced (with Petra Hoss)
Displaced (with Denisse Horcasitas)
Displaced (with Natividad Vega)
Displaced (with Nati Valdovinos  y Eugenia)
Displaced (with Lee Lapaix)
Displaced (with Jessie Hart)
Displaced (with Dani Valdovinos)
Displaced (with Lidoly Chávez)
Displaced (with Flavia Hevia)
Displaced (with Anne Pilon)
Displaced (with Amanda Ruíz)
Displaced (with Leigh Cline)
Displaced (with Danielle Maither)
Displaced (with Danielle Maither)
Displaced (with María Ezcurra)



Installation made with 500 gloves found in the streets and public spaces of Montreal for 3 consecutive winters, hanged like a flag outside of the Maison de la culture de Notre-Dame-de-Grâce.

Threads, Trends and Threats


This research/creation project explores the way in which our personal and cultural identities are constantly affected by gender stereotypes. Here we are offering a creative way to explore, question and resist these feminine roles socially imposed to us. More than denying tradition we are reinventing it to generate new understandings of what does it mean to be a wife, a mother, and a female individual today.




This ongoing textile installation was created through a sequence of collaborative actions. Throughout the duration of the show different people from the Concordia community came to the vitrines wearing a garment specifically chosen to be transformed into a sculpture. Together we transformed the configuration and identity of a collective space through a series of shared individualities.

Open (with Jake Moore)
Open (with Jake Moore)
Open (with Katy Keays)
Open (with Katy Keays)
Open (with Maya Cashaback)
Open (with Ruth Boomer)
Open (with Ruth Boomer)
Open (with Carolyn W.)
Open (with Jenna Dawn)
Open (with Josee Lavigne)
Open (with Jayme Schomann & Josee Lavigne)
Open (with Chris Milliken)
Open (with Sabrina Dufour & Chris Milliken)
Open (with Jessie Hart)
Open (with Marie Eve Legault)
Open (with Adrian Bracisiewicz)
Open (with Scott MacLeod)
Open (with Florence Boivin)
Open (with N. Reid, N. Darroch & F. Boivin)
Open (with Richard Lachapelle)
Open (with Janna Vallee)
Open (with Flavia Hevia)
Open (with S. Valdovinos, Hu Jun & Anne Pilon)

Butterfly Effect


Animation and textile performance, in collaboration with G. Scott MacLeod (Photos) and Tatiana Koroleva. BALANCE-UNBALANCE Conference, Concordia University.



Performance and Installation.

Heaven and Hell


Installation made with red and blue clothes cut and sewed together, and extended in the New City Gas Building.

In your shoes


Intervention made in a park in Montreal with 500 found shoes.



Action in which I cut the Museum visitors´ labels for sewing them into my dress, made with the tags of my own clothing.






Intervention made in the front wall of an old building in Mexico City’s downtown, which was covered with more than 1000 clothes. Project made with the support of Hostería La Bota.



Garment cut through its sewing, extended in the floor or walls of the space.

Open Series
Open Series
Open Series

Waiting Time


Weaved graphic that shows all the time that I invested waiting, each month, for a year.



Six columns made with crinolines.



Performance in which 30 women, wearing flowered dresses, participated by cutting the flowers off of their garments, with the support of the public, creating a textile garden in the museum.

The Procession Goes Inside


Nylon stockings sewed together, filled with women shoes.

The Procession Goes Inside
The Procession Goes Inside
The Procession Goes Inside
The Procession Goes Inside



Sculpture series

Red Divergences and Collars
Red Divergences and Collars
Red Divergences and Collars
Black Divergences
Black Divergences



Action made with the public's clothes to create installations on the walls of the Museo de Bellas Artes of Caracas.



Action made with the clothes of the passers-by to create installations on the street outside metro stations.

15 Springs


15 party dresses with women's names embroidered on their chest. Each name implicates also a female virtue, according to current societal norms.

15 Springs
15 Springs
15 Springs
Cándida (Warm)
Concepción (Conception)
Consuelo (Consolation)
Dolores (Pain)
Dulce (Sweet)
Esperanza (Hope)
Gloria (Glory)
Innocence (Innocence)
Libertad (Freedom)
Norma (Norm)
Paz (Peace)
Piedad (Pity)
Socorro (Help)
Soledad (Solitude)
Victoria (Victory)

The Last Scream


This piece takes on fashion as an almost anthropological matter, where the mass of used and discarded garments incorporates little moments of many people’s lives. The ambiguity if this morbid and seductive installation suggests some presences and makes certain absences evident, inviting us to reconstruct and create a personal story from them. Our own altar.



Based on our daily exposure to subtle social and evident gender violence, this piece explores the common actions and personal ethical and aesthetical decisions that we make every day, reflected mostly on our bodies, intending to reflect the understated aggressions in which we all participate.



Sculpture series

150 Stockings
Albinos Cactus
Ball 1
Ball 2
Ball 3

New Year’s Eve


This piece consists of a series of impressions of red underwear bought to celebrate New Year’s Eve for 12 consecutive years. It is a kind of personal metaphor that implicates individual rituals as well as cultural believes, exploring in this way the social taboos constructed around them.

New Year

The Perfect Housewife’s Wardrobe


Photographic documentation of five actions made with garments that integrate the woman to her domestic furniture.

Not one more


No more death women. No more missing women. No more assaulted women. No more ignored women. Not in Ciudad Juarez or in any other place. Not one more.



Interventions made in a factory of plastic packaging in Bayamon, Puerto Rico, using the worker’s uniforms as molds for producing two structures of white foam, produced in the same place.

Body of Work: Swimming Suits


Based on the idea of clothes as a second skin, these pieces function as a dissection. I un-stitched garments and installed them extended in the wall -or into the floor for giving them a three dimensional form-, creating a series of morbid but seductive objects.

Body of Work: Furs


Based on the idea of clothes as a second skin, these pieces function as a dissection. I un-stitched garments and installed them extended in the wall -or into the floor for giving them a three dimensional form-, creating a series of morbid but seductive objects.

Body of Work: Stripes


Based on the idea of clothes as a second skin, these pieces function as a dissection. I un-stitched garments and installed them extended in the wall -or into the floor for giving them a three dimensional form-, creating a series of morbid but seductive objects.

Bringing them back


Interventions made in public spaces in SF using clothes recovered from the street. Each garment was transformed into a sculpture that I brought back to the place where it was found.

67 Gloves in the Tate Gallery


Lost gloves found in London’s public spaces, labeled with their correspondent identification and installed –as tradition suggests- in the fence of the Tate Gallery, becoming in this way liminal objects that can be interpreted both as art and as part of a social action.