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The project stems from an introspective act and the need to investigate the spiritual, cultural, social and figurative dimension of the ritual artefact, a symbol that embodies the mystery of the human condition in its relationship with the sacred. These are textile sculptures with glass inserts, recycled materials, natural and animal elements.

Two of the characteristic elements of this series are the fabric and the mirror. The fabric, made of raw cotton, is cold-dyed through the process of collecting, cataloguing, extracting and exploring certain natural dyes derived exclusively from organic material. The physiognomic details of the ‘textile portraits’ are rendered in a capillary manner, the expressions of the faces are realistic while maintaining essential and generic characters that recall the magical-symbolic thought of a primitive art rooted in the earth, but constantly turned to the sky. It is like an internal dialectic between the vital force of physiognomy, of expression, and the combat of this with its opposite: death that presses in, that erases, that sculpts expressiveness making physiognomy recede towards the indistinctness of an otherworldly dimension. The mirror demands attention from the viewer by placing him or her at the centre of the visual narrative. Everyone is called into play, each person is subjected to the gaze of the artwork and interacts with it, changing perspective and obtaining new visual glimpses revealed through the mirror’s reflective action. And so, immobility merges with becoming, with movement, the concreteness of the materials meets the ephemerality of the optical illusion, of the “mirage”, the apparent reality blends with the surrounding environment, the body of the artwork becomes an extension of the soul of the viewer.

Orula, Babalu Aye, Olokun, Yemaya. Materials: cotton fabric, organic dyes, natural fibres, mirrors, other. Photos by Isabel Rodriguez Ramos.



The series comprises fragments of fabric that are exposed to the elements, pollutants, and heavy metals in the air of Turin city. Much like clothes left out in the sun, these shreds undergo a continual interaction with their environment, evolving in their connection to it over time.



IKIPERU, known as Cupra, also referred to as Cubrar in Umbrian, Ikiperu in Picenian, and alternatively Kypra or Supra, stands as a revered divinity in the ancient belief systems of the Umbrians and Picenes, holding a distinguished position as one of the Italic Great Mothers. This Chthonic goddess, presiding over waters and fertility, bears a multifaceted identity, aligning with the Uni of the Etruscans and resonating with the essence of Astarte. In the Roman tradition, she is recognized as their own Bona Dea, further attesting to the syncretic nature of ancient deities across cultures. The sanctity of IKIPERU is deeply intertwined with the rituals and beliefs of the ancient peoples, revealing a profound reverence for the cyclical nature of life, the fecundity of the earth, and the sustaining power of waters. As a Chthonic goddess, she embodies the mysteries of the underworld and the generative forces that influence life’s cycles.

IKIPERU – installation view. 2.5×2.9 m; 2023. Gea Collective; La Distesa. Cupramontana, Marche, Italy. Photos by Isabel Rodriguez Ramos.

The embodiment of the goddess takes shape through a meticulous process, where linen serves as the medium for her intricate form. This unique artistic creation not only involves the art of weaving but also incorporates a dye mixture derived from the fascinating alchemy of mycelium and the fermentation of organic materials – indigenous yeasts and dried berries affected by peronospora. Commissioned specifically for and crafted within the La Distesa rural community, the sculpture is designed to be an integral part of a profound life cycle, mirroring the cyclical nature of existence. Its ultimate destiny is to undergo a gradual process of deterioration within the very vineyard that served as its birthplace. This intentional connection between the artwork and the vineyard symbolizes a dynamic interaction between art and nature, where the passage of time and environmental elements become essential collaborators in the evolution of the sculpture. The choice of materials and the deliberate exposure of the goddess to the elements align with a conceptual framework that embraces impermanence and decay as inherent aspects of the artistic journey. As the linen and organic dyes gradually succumb to the influences of weather, seasons, and the vineyard ecosystem, the goddess undergoes a metamorphosis, echoing the perpetual transformations witnessed in the natural world. The goddess becomes a living testament to the symbiotic relationship between art, nature, and the passage of time, inviting contemplation on the transient nature of both artistic expression and the organic world that serves as its canvas.

La Distesa is a rural community located in the Marche hinterland and extends over two farms in the municipality of Cupramontana, in the province of Ancona. The main activity is the cultivation of vines for the production of high quality natural wines, but the farm also consists of olive trees, arable land, fodder and woodland. Organic farming, certified by CCPB, is practised throughout the farm.

IKIPERU – details. 2023. Gea Collective; La Distesa. Cupramontana, Marche, Italy.



‘Raíces’ unfolds as a profound collective artistic exploration into the intricate tapestry of roots, conceived as a therapeutic response to the perpetual yearning that accompanies the artist’s upbringing far from a homeland that she doesn’t inhabit physically but resides within her essence. This artistic endeavor seeks to address the intrinsic restlessness that arises from being distanced from a land that holds ancestral significance, endeavoring to bridge the emotional and geographical gaps through an immersive journey into the artist’s heritage.

At the heart of ‘Raíces’ lies a poignant narrative of self-healing and fundamental awareness, encapsulating the artist’s relentless pursuit of a sense of belonging. Drawing inspiration from her paternal family’s enduring connection to the tobacco fields of Pinar del Rio, Cuba, spanning many generations, the installation manifests within the walls of an uncle’s tobacco house, infusing the artwork with a tangible connection to the artist’s familial lineage. Remarkably, ‘Raíces’ unfolds as a collective artwork, actively engaging each member of Isabel’s family in its creation. The collective contribution of the family serves not only as a testament to shared heritage but also as a shared space and time for contemplation on the profound concept of roots. The metaphorical exploration of roots finds embodiment in the tobacco plant, a symbol intricately woven into the fabric of the artist’s family history for over 150 years. The meticulous crafting of the word ‘Raíces’ materializes through the veins of tobacco leaves, cultivated and nurtured by uncles and cousins. These veins are intricately applied to a “tela de tapado,” a wide-meshed cloth traditionally used by farmers to shield plants from the sun’s rays. The thread employed to weave the veins into the fabric holds a deeper significance, as it is the same thread traditionally used to stitch tobacco leaves together before the drying process. In essence, ‘Raíces’ emerges not only as a visual investigation but as a multi-dimensional exploration of heritage, family bonds, and the intricate ties that bind individuals to their roots. This collective artistic act transcends traditional boundaries, inviting viewers to engage with a narrative that encapsulates the essence of the artist’s familial legacy and serves as a testament to the resilience of roots that endure across generations.

Medium: Land Art, Installation. Sept / 2022. Pinar del Rio, Cuba. Materials: “tela de tapado”, tobacco, thread. Photo by Isabel Rodriguez Ramos.

Isabel Rodriguez Ramos ©2024

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