2019, Installation: Red pantyhose, rings and rocks

La Centrale Powerhouse Gallery, Montreal, Quebec, Canada

Tension is a textile installation made of red pantyhose and rocks, which physically and conceptually connects the body to the space that it occupies. The piece can be walked and explored by visitors, experiencing the relation of our bodies to place, borders and boundaries. It interweaves textile narratives that hold and are structured by the memories, experiences and places that shape us, embodying the tense—but still multilayered and strong—social formations and cultural relations involved in the construction of identity.



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 one self and with others. Connections with our community.

See more:

La Presse (2019), by Éric Clément: Maria Ezcurra, Éveiller les consciences

Convergence Initiative (2019), by Andrée Lessard: Synapse, or how we make accidental connections

Objets personnels / Personal belongings / Objetos personales


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, Abraham Lifshitz and Diego Rivera Kohn / Interface: siete|media



2016, Canada. 5 x 10 x 3 m.

Photo: Maria Ezcurra.

Reflections is a maze made of silver emergency survival blankets. This puzzling network of paths has several entrances and can be walked through different ways. Made of a reflective material, its exterior reproduces the context in which it is located, and the interior mirrors and responds to the people walking through it. This installation intends to transform an everyday space into an engaging and challenging pathway that temporarily changes our relationship with the world and with ourselves. By physically immersing ourselves in this experience, we leave behind a fast moving and fragmented world, looking for something more personal.

Video: https://www.youtube.com/watch?v=QNveJVELaoU

Red Roots/Green Lands


2015, DHC/ART, Montreal, Quebec, Canada

Workshop designed in collaborationwith the DHC/ART’s Education Department for the IMAGINE BRAZIL exhibition, using various found and recycled materials.

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. Anabundant 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.

For the duration for the workshop, the DHC/ART Education room will be transformed into a vast installation with a large tubular structure composed of various found and recycled materials. Lines of wires and thread will extend from its peak, connecting the structure to canvases that cover the walls of the room. These lines evoke branches, but also materialize the various networks and connections omnipresent in our everyday lives, and which are represented and critiqued in the exhibition IMAGINE BRAZIL.

During the workshop, participants are invited to cut fragments of the materials attached to the structure and to select various found objects suspended from the network of lines. They then create a collective landscape-collage using the 2D and 3D elements they have collected. Through this gesture, participants are symbolically confronted by the exploitation of human and natural resources, but are also given the opportunity to propose alternate gestures of reapproprating and recycling objects that would otherwise be disposed of. Inspired by participants’ experience of the exhibition IMAGINE BRAZIL, the landscape-collage allows us to collectively imagine the Brazilian territory from our own perspectives. (https://fondation-phi.org/blog/2015/11/12/workshop-red-rootsgreen-lands/)

Video: https://vimeo.com/155427833



Uncover is a participative installation that invites visitors of the Museum of London to create art with clothes. 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


2015, Articule, Montreal, Quebec, Canada

Sewing pins, metal, wood and black ribbon

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 endsup dehumanizing death, catalyzing a reflection on the many complex forms of violence unfolding in Mexico while linking personal decisions to social issues.

Read more:

Refusing Silence. Articule Presents Pinned Down by Maria Ezcurra: http://thelinknewspaper.ca/refusing-silence

Taking Action to Commit to Memory: (Another) Day of the Dead, by Megan Mericle : http://www.articule.org



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

Made in China


The possibility of everything, ScotiaBank Nuit Blanche, Toronto, Canada

Curator: Dominique Fontaine

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


Canadian Art(2014). 6 Picks for Toronto’s Nuit Blanche

TorontoLife (2014). Comment faire unesculpture de trois étages en vêtements, pour Nuit Blanche ?






Series of Actions

Hair by hair


Action performed with the collaboration of Pedro Orozco



Performance. Made with the collaboration of Stefanie Buxton



2014, Performed with the collaboration of Daniela Valdovinos, Danielle Maither, Denisse Horcasitas, Jennifer Wicks, Jessie Hart, Lee Lapaix, Leigh Cline, María Natividad Vega, Nati Valdovinos and Petra Hoss.
Art Souterrain:
Eaton Center (March 16)
Place Des Arts (March 8)
Place Bonaventure (March 1)
Montreal, Quebec, Canada,

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

Jake Moore
Jake Moore
Katy Keays
Katy Keays
Maya Cashaback
Ruth Boomer
Ruth Boomer
Carolyn W.
Jenna Dawn
Josee Lavigne
Jayme Schomann & Josee Lavigne
Jennifer Wicks
Chris Milliken
Sabrina Dufour & Chris Milliken
Jessie Hart
Marie Eve Legault
Adrian Bracisiewicz
Scott MacLeod
Florence Boivin
N. Reid, N. Darroch & F. Boivin
Richard Lachapelle
Janna Vallee
Flavia Hevia
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

Tatiana Koroleva
Rebecca Logan
Emily Paige
Jessica Hart
Jayme Schoman and Jess Aylsworth
Isabelle Duguay

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



2010-2012, Dress made with the support of Victoria Eugenia.

Espacio México, Montreal, Canada
Museo del Chopop, Mexico DF



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




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



2008-2009, Celarg, Caracas, Venezuela
Museo el Eco, Mexico DF

The Procession Goes Inside


Nylon stockings sewed together, filled with women shoes




Red Divergences and Collars
Red Divergences and Collars



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

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



2005, firstsite Gallery, Colchester, Inglaterra. Curator: Gabriela Salgado.

2008, Kunsthaus Santa Fé, San Miguel de Allende, México.

2008, Galería Hermenegildo Bustos, Guanajuato, México.

2009, Museo de Arqueología, Bienal de Tesalónica, Grecia. Curator: Gabriela Salgado.




New Year


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.

Ni una más (Not one more)


Nylon stockings, women's shoes, metal structure and hangers



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



Body of Work: Furs



Body of Work: Stripes



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