Traditional Andean weavings are characterised by an alternation of monochrome fields (q. Pampa) and multicoloured fields where iconographies appear (q. Pallays). Counting and choosing the warp threads with our fingers and with the help of a llama bone – our main tool – we interweave the weft threads to design the iconographic motifs.
The pallays represent elements, objects or symbols that communities value or that characterise their daily lives, and at the same time, they are the imprint of the weaver’s hand and of her creative mind.
TRUCK WITH ALPACA
In the Andean textile tradition, some traditional iconographies are passed down from generation to generation. Each area displays characteristic iconographic elements that are often inspired by nature, landscape, historical facts and legends specific to the communities. My weavings incorporate traditional iconographies of the Pitumarca district, such as the profile of mountains, lakes, stars, birds, etc.
Other iconographies found in my textiles are original creations, made with inspiration from fmy amily and community environments, as well as the contemporary everyday life. I love to experiment and pursue new designs: it is both a creative moment and a challenge: to think, to design, to count the threads, to try and, finally, to succeed. Among my own iconographies are stars (q. chaska) that form a series of things and represent the laws of nature: a group of stars (q. q’o’to), stars that form a cross (q. llotho kuruz), stars that form the eye of a llama (llama ñawi), or other contemporary elements such as trucks carrying alpacas.
I love to combine traditional themes, characteristic of the Pitumarca district, with iconographies created by myself. My experience allows me to recreate any kind of design and my passion for experimentation is evident in all my weavings, whose characteristic components are the finesse and precision of the iconographic elements (much of which is my own new design) and the elegant combination of colours.
My career as an artist is always evolving: since 2015 I have started to dedicate myself with more passion and commitment to the complex technique of two-sided complementary warps (q. iskay uya). In these weavings, the interplay of warp threads allows to develop on one side a design that on the reverse side will be replicated, but with complementary colors.