A white sheet remembers.
Its fibres preserve the invisible traces of intimacy: the weight of a resting body, the silence of sleep, the passing of seasons. Within this familiar landscape, black thread becomes a line of thought, a breath, a pulse. Guided by the sewing machine, it draws portraits that are not fixed images but living presences, suspended between appearance and disappearance.
“In Black on White” is a series of monumental embroidered self-portraits where drawing and textile dissolve into one another. The gesture is slow, repetitive, almost ritualistic. Each stitch is both incision and repair, each line an attempt to inhabit the fragile space between what is seen and what is remembered.
The monochrome palette strips away distraction, allowing the dialogue between light and shadow, fullness and emptiness, to unfold. Black does not conceal; it reveals. White is never empty, but an open field where memory, vulnerability and time quietly emerge.
The reverse of the embroidery, with its tangled constellations of threads, remains inseparable from the image itself. Hidden and visible, order and chaos coexist, echoing the complexity of inner landscapes and the invisible architecture of human experience.
Working with discarded linen and cotton sheets transforms ordinary domestic textiles into places of contemplation. Materials that once carried anonymous lives become vessels of personal and collective memory, where the intimate acquires a universal dimension.
Rather than depicting identity, these works inhabit its continuous transformation. They speak of a self that is never complete, but endlessly woven through gestures of care, repetition and presence. Here, embroidery becomes a form of listening—a quiet practice through which the body remembers what language cannot hold.