My textile thesis collection is a tactile chronicle of Peru’s layered past, an archeological, personal, and historical excavation that traverses the Pre-Hispanic, Colonial, and Republican eras. Each piece draws on the enduring spirit of Peruvian textiles, which are firmly rooted in the land, and each reflects on the way in which threads of identity have been pulled, twisted, and re-woven through centuries of cultural collision and coexistence.

My work is not a critique but rather an offering―an open archive that seeks to inform, commemorate, and reconcile. At its core, my collection explores extraction as a metaphor: not only the material exploitation that began with colonization―the removal of silver, gold, coca, and cochineal―but also the extraction of language, land, memory, and cultural identity. These acts of taking were not just physical but spiritual and epistemological as well.

Shapes of mantles and ornaments that once held ceremonial and social significance in Peru are present in pieces in my collection. Through them, my work becomes more than fabric; it is a repository—a textile archive that holds both pain and resilience. It records what was taken, what survived, and what can be reclaimed.

My collection has no filter: It presents reality as it was and still is. A landscape marked by segregation but also layered with memory, richness, and potential. It does not romanticize the past but instead proposes a future built on understanding and unity―not by erasing differences but by learning from them.

Rooted in a framework of pluriversality, my work embraces the idea that there is no single way of knowing or being. Every stitch is an invitation to recognize multiple worldviews, to value indigenous knowledge alongside modern perspectives, to create a more equitable and inclusive fabric of reality.

My work holds space for duality, for discomfort, for pride.