NOBODY exhibits

NOBODY EXHIBITS - Textile sculptures, serendipity and
theory as embodied practice

NOBODY I & II emerge from a place that exists between categories – a zone where belonging is suspended, where identity becomes porous, where one becomes a NOBODY not through absence but through excess. A state of being that slips out of definition, out of genealogy, out of tidy narratives. This in-between is often treated as a wound, a lack, a displacement. My work reframes it as a site of force.

The NOBODYs are sculptural bodies made from kilometer-long selvages – the edges of fabrics that usually remain unseen, cut away, discarded. Their construction – an abstract form; a NO-BODY – is slow and strenuous, built through layering and overlapping until the material stabilizes itself. The tension points, frictions, and breaks become biographical markers: transitional zones inspired by Gloria Anzaldúa’s Nepantla and Borderlands, where rupture becomes continuity and instability becomes structure.

To work with selvages is to work with the margins of material culture. To shape a body out of leftovers is to articulate another form of selfhood: one that refuses the binary of center and periphery. The NOBODYs hold this tension. They occupy space without asking permission. Their softness is not submission but a strategy — a disarming presence that insists on being seen.

The making process is guided by the NOBODY Methodology: a way of thinking that moves through intuition, material resistance and serendipity of handling. Theory is not referenced but enacted; gesture becomes epistemic. Transitions, overlaps, and knots function as embodied arguments.

The works invite us to understand transitional spaces not as voids but as autonomous fields of reinterpretation, agency, and relational acuity – a form of presence that is not about care as sacrifice, but about the integrity of staying with what the world prefers to overlook.