Glove
Text: poem by the author
The glove
"... there is only one left, /
and she gave me a tiny little knitted glove with the color of tea. /
It was a glove for the hand of a three year old girl. /
It could have belonged to my mother but it's not important... /
It's the object that caught my attention. /
It brought me back the image of a woman /
in a rocking chair knitting exquisitely this small little hand. /
What emotions must she have felt in every stitch? /
how much love and care in this tiny work of art! /
But for who?, who knows... it does not matter. /
What I do know, is that sooner or latter it will leave the drawer /
to become part of one of my artworks, /
with history or without, with words, /
with calligraphy and with colors. /
Even though once again why?, it does not matter... /
since the small little glove /
is part of the memory of a generations community, /
a family or even one single person and it will be in each one /
to wrap it in in their own stories. /
So that it will matter."
One of a kind book
32,5 x 12 x 3 cm
Watercolor and walnut ink on Arches paper.
Pointed nibs, antique thread, macramé glove on wooden box.
Year: 2016
Germination
Original text in English.
Text: Extract.
"There is a vitality, a life force, an energy which is translated through you into
action and because there is only one of you in all times, this expression is unique. If
you block it, it will never exist through any other medium and it will be lost... "
Author: Martha Graham.
Bookbinding by Carlos Quesada.
Hard cover on fabric. Coptic binding.
The book is contained in a fabric bag.
This book shows my process in developing a new alphabet basically taking countershape as a positive space.
21 x 28 cm
Gouache and gold leaves on Arches paper.
Pages: 12
Year: 2011
Eyes of Fish
Basho's haiku:
"Spring passes and the birds cry out – tears in the eyes of fish"
"Eyes of fishes" is part of the Robert B. Haas Family Arts Library Colletion at the Yale
University.
One of a kind book
Watercolor & thread on Rives BFK paper
Binding by Carlos Quesada
10 pages
50 x 100 cm
Year: 2016
Textile Text
The text belongs to the famous historian Ruth Corcuera from the book: Weavers of the quichua forests.
"Thousands of years ago, when only the voice recorded small and big events of every day life, women would cover their newborn child in a wrap. In this we see a space created between the mother's womb and the world outside. We believe textiles were born from such gestures, within the realm of feelings and from a women's view: to protect, to give warmth and to sustain livfe. In time, textile art will be the means to tell us through colours and designs that the world can be read through symbols, as in a written text. In the great American cultures these symbols were a kind of lingua franca and textiles a major art with many roles, among them to express that where words did not suffice.
"
Watercolor and walnut ink on Rives BFK paper
Binding by Carlos Quesada. Covers made in batik by the author
20 pages
Year: 2015
Prayer
Text in English by the author:
"Magnus God in me, / Divine awareness, / Holy Chi,
release my heart of sorrow, / release my mind of fear,
give me peace and harmony / and let me flow.
"
28 x 43 cm
Watercolor, sumi & gouache on various papers.
Done within a typographic box.
Binding by Carlos Quesada.
Year: 2013
Bella Illuminata
Text by Pablo Neruda: lovely one.
"Lovely one, / with delicate hands and slender feet, / like a silver pony, / walking, flower of the world, / thus I see you, / lovely one. / Lovely one, / with a nest of copper entangled / on your head, a nest / the color of dark honey / where my heart burns and rests, / lovely one. / Lovely one, / your eyes are too big for your face, / your eyes are too big for the earth. / There are countries, there are rivers,
in your eyes, / my country is in your eyes, / I walk through them, / they light the world / through which I walk, / lovely one.
"
69 x 69 cm
Sumi ink & gouaches on Magnani Bianca paper. Color pencils, pastels and copper leaves. Nibs and sowing thread, box.
Year: 2013
Quilting Book: Mira Calligraphiae Monumenta.
Text by Marina Soria and Andrea Jauregui:
"Six friends / one table
separate colors / silk shreds
Cotton pieces/ threading needles
Telling stories /tacking memories
Little stiches / each block a memento
Each knot a heart. "
118 x 75 cm displayed
Old book pages printed with my own sumi-e paintings and calligraphic alphabet styles handwriten in gouache and watercolor. Six panel book sown and glued in concertina shape. Wooden box.
Year: 2012
Sowing Nibs II
The poem depicts one of my father's gestures. "Minimum Gestures" is the titles poem.
"She recalled her dad / Took a deep breath / exhaling the air very slowly / till her lungs were empty That minimum inherited gesture / brought her back to serenity / and recovered her from the hustle / Renewing her energies."
9.8 x 4.7 x 1.5 inches
Gouache, watercolor and walnut ink on Strathmore and various papers. Pointed nibs, embroidery thread and wooden box.
Year: 2012
Book
Text: Fude
Sumi on Rives BFK and rough papers. Various tools.
38 x 27 cm
32 pages
Año: 2012
This book was the result of my workshop with Thomas Ingmire within the Calligraphy North West Conference, Reed's College, Portland, Oregon.
Sowing nibs
Poem by Marina Soria.
I wrote this poem for a friend in a rough moment of her life:
"A story is unfold, and from it thousands of pieces flourish / Some of them are truly works of art, but by themselves they lose their meaning / Save them! / Preserve them with love because with love they were woven / In the future they will become part of some other fabric / Keep on weaving and do not ask about them / it's no time to reason / there will come a time to unfold them / Just for today, do not think, weave, weave, weave! / Weave like crazy, weave with tears, / Weave with anger, weave while screaming, / weave with euphoria / Weave words and weave good dreams / Do not get discouraged… keep on weaving / there are many lives and many knittings / Somewhere you will find the pattern."
6 x 7.8 x 2 inches.
Gouache, watercolor and Walnut ink on Strathmore and Ingres papers. Pointed Nibs, embroidery thread and Havana cigars wooden box.
5 pages.
Year: 2012.
This artwork was awarded with the third prize by the CAAT (Argentine Textile Art Center) contest in Buenos Aires, Argentina.
It was exhibited at the Poetic Pen Contest in 23 Sandy Gallery in Portland Oregon and purchased by the Yale University to form part of the Latin American Collection. words from the librarian who bought it:
"I am thrilled to have the piece and look forward to showing it to the newly hired Curator of the Latin American Collection… I think this piece will definitely be impressive!"
Fude Installation
Title of the poem:
In my dream my name was Fude
In my dream my name was Fude.
I rested in a delicate mahogany case.
My hair was bright, soft and combed with much care and dedication.
It had been brushed till exhaustion by expert hands trying to line up every single strand of hair.
My skin was smooth and polished with the smell of willow and my slim body had the right weight to be embraced by a skilful hand.
In my dream I danced over the water surface.
Sometimes I slightly submerged until I caught it's humidity.
In other moments I felt slow, precise and meticulous.
Some other times my motion was quick, impulsive, almost gestural.
I left a series of strokes behind me, first a wet and brilliant stamp mark that fixed on to the surface like a sign when it dried.
These strokes shaped a written text.
When I woke up I understood I had dreamt of myself as a brush.
Fude means brush in Japanese.
1,80 x 2,30 mts
Sumi on Magnani Bianca, Modigliani Neve and wrapping papers. Wooden hanger and stone. Bambu mutt
Year: 2012
Photography: Mariano Enquin.
1st prize award at National Textile Art Contest, Museo Rómulo Raggio.
Collaboration Fude
Collaboration work for Thomas Ingmire's workshop within the Calligraphy North West Conference, Reed's College, Portland, Oregon.
Year: 2012
The theme of the collaboration was to create a piece of art based in my poem, FUDE. Three artists in different parts of the world, created this small size installation: Susan Richardson, Martha Ericson & Marina Soria.
Photos courtesy: Lisa Kivland
Embroided Book
Weaving dreams, by Marina Soria.
The poem was written for a friend who was going through a rough time in her life:
"A story is unfold, and from it thousands of pieces flourish.
Some of them are truly works of art, but by themselves they lose their meaning
Save them!
Preserve them with love because with love they were woven.
In the future they will become part of some other fabric.
Keep on weaving and do not ask about them.
It's no time to reason
there will come a time to unfold them.
Just for today, do not think, weave, weave, weave!
Weave like crazy, weave with tears,
Weave with anger, weave while screaming, weave with euphoria.
Weave words and weave good dreams.
Do not get discouraged… keep on weaving
there are many lives and many knittings
Somewhere you will find the pattern."
14 x 125 cm
Artist concertina book.
Gouache, watercolor and Walnut ink on Magnani.
Bianca paper. Pointed Nibs, embroider thread on fabric.
Pages: 8
Year: 2011
In the last years, and because calligraphy is practically unknown in my country, I had to think a way to enter my artworks into national competitions. I found out that calligraphy could be a metaphor for weaving, strokes or letters like stitches and text pattern as fabric, so I developed a series of artworks combining both disciplines within the textile arts.
This artwork was awarded "Best of the Show" in the Poetic Pen Contest together with the works of Thomas Ingmire, Karl Kurtz & Rod Sawatsky in Portland, Oregon within the context of the Calligraphy Northwest Conference.
Weaving words
Weaving dreams, by Marina Soria:
"A story is unfold, and from it thousands of pieces flourish.
Some of them are truly works of art, but by themselves they lose their meaning
Save them!
Preserve them with love because with love they were woven.
In the future they will become part of some other fabric.
Keep on weaving and do not ask about them.
It's no time to reason
there will come a time to unfold them.
Just for today, do not think, weave, weave, weave!
Weave like crazy, weave with tears,
Weave with anger, weave while screaming, weave with euphoria.
Weave words and weave good dreams.
Do not get discouraged… keep on weaving
there are many lives and many knittings
Somewhere you will find the pattern."
86 x 86 cm
Watercolor and walnut ink on Ingres and Strathmore papers. Typographic Wooden case, fabric, embroidering threads and small japanese and coptic bindings. Book made on Fabriano watercolor paper, embroidered cover.
Year: 2011
This artwork has been selected by the jury of the National Argentinean Art Textile Contest and will be exhibited during the months of December and January in the Palais De Glase Museum in Buenos Aires, Argentina
There is a whole article of this artwork and its process and inspiration in the International Museum of Calligraphy´s Newsletter, Moscú. Rusia
http://calligraphy-museum.com/eng/News.aspx?ItemID=1656
It has also been elected for the 2011 Annual Letter Arts Review Magazine.
Sunderland Diary
22 x 32 cm
Watercolors and walnut ink on Rives BFK paper. Soft cover on Rives BFK. Japanese brush, cola pen and nibs. Four needle binding.
Pages: 40
Year: 2011
This book is a diary of my explorations and experimentations in the Sunderland Calligraphy Conference in England. The book´s cover is the result of a team work exercise: "responding to music".
Flowers for breakfast
Sumie
Original text in Spanish, surrealistic poem by Marina Soria:
"Flowers for breakfast in a solemn balcony of sun.
Singing bread in hot slices like prayers.
Smoking jasmine tea in the mirror of my soul .
Expectant spirit in a newborn day."
22 x 32 cm
Acuarelas en papel Rives BFK.
Año: 2011
This book was created right after my return from the Sunderland Conference in England after attending Thomas Ingmires's workshop on poetry & calligraphy
Flowers for breakfast
Original text in Spanish, surrealistic poem by Marina Soria:
"Flowers for breakfast in a solemn balcony of sun.
Singing bread in hot slices like prayers.
Smoking jasmine tea in the mirror of my soul .
Expectant spirit in a newborn day."
22 x 36 cm closed
100 x 36 cm displayed
Watercolor on Magnani Bianca paper. Cooper leaves. Japanese brush, cola pen.
Year: 2011
Hard cover with Indian paper.
Concertina book.
Deconstruction book
Original text in English.
Author:
Martha Graham, extract:
“There is a vitality, a life force, an energy which is translated through you into action and because there is only one of you in all times, this expression is unique. If you block it, it will never exist through any other medium and it will be lost…”
21 x 28 cm
Gouache and gold leaves on Arches paper.
Pages: 12
Year: 2011
Bookbinding by Carlos Quesada. Hard cover on fabric. Coptic binding. The book is contained in a fabric bag.
This book shows my process in developing a new alphabet basically taking countershape as a positive space.
Life Hanami
Original text in Spanish by marina Soria:
"Life has revealed her eternal truth
She learned to tame tensions
To fight the raging winds
To ease the rains
To stick firmly to her branch
She has flourished in Spring
And has lived her whole existence
Just for this moment
Sublime and evanescent
A gentle breeze swayed her mates
Eventually they would join her
It was time to let herself go
To release, to float and fall down
On the white fabric (underneath)
That was all,
It was just a matter
Of giving up existence (being)"
29 x 26 cm
Walnut ink, gouache & copper leaves on Arches Lana Aquarelle paper.
Pages: 16
Year: 2010
Bookbonding by Carlos Quesada. Hard cover on fabric and copper leave. Box.
Hanami was first used as a term analogous to cherry blossom viewing in the Heian era novel Tale of Genji.
Emperor Saga of the Heian Period adopted this practice, and held flower-viewing parties with sake and feasts underneath the blossoming boughs of sakura trees in the Imperial Court.
Poems would be written praising the delicate flowers, which were seen as a metaphor for life itself, luminous and beautiful yet fleeting and ephemeral. This was said to be the origin of hanami in Japan.
Family bonds II
Original text in english:
“Go and look again at the roses. You will understand now that yours is unique in the world. Then come back to say goodbye and I will make you a present of a secret”.
“Goodbye”, he said.
“Goodbye”, said the fox.
“And now here is my secret, a very simple secret: It is only with the heart that one can see rightly. What is essential is invisible to the eye."
"What is essential is invisible to the eye”, the little prince repeated, so that he would be sure to remember.
“It is the time you have waisted for your rose that makes your rose so important.
Men have forgotten this truth”, said the fox.
“But you must not forget it. You become responsible, forever, for what you have tamed. You are responsible for your rose”.
Little prince. Antoine de Saint Exupery.
22 x 36 cm. closed
176 x 35 cm. open
Walnut ink & gouache on Magniani Bianca paper, diamonds in gold leaves and details in marbled paper.
Japanese brush, cola pen and nibs.
Year: 2010
Binding made by Carlos Quesada with fabric. Consertina book made of 8 pages.
The text, which is in the shape of flowers, says: Gustavo, (my husband's name) Marina, Mora, Cata and Peky (my daughters' names). Love.
Family bonds
Original text in english:
“Go and look again at the roses. You will understand now that yours is unique in the world. Then come back to say goodbye and I will make you a present of a secret”.
“Goodbye”, he said.
“Goodbye”, said the fox.
“And now here is my secret, a very simple secret: It is only with the heart that one can see rightly. What is essential is invisible to the eye."
"What is essential is invisible to the eye”, the little prince repeated, so that he would be sure to remember.
“It is the time you have waisted for your rose that makes your rose so important.
Men have forgotten this truth”, said the fox.
“But you must not forget it. You become responsible, forever, for what you have tamed. You are responsible for your rose”.
Little prince. Antoine de Saint Exupery.
22 x 36 cm. closed
176 x 35 cm. open
Walnut ink and gouache on Magniani Bianca paper. golden leave diamonds. Japanese brushes, cola pen and nibs.
Artist collection.
Año: 2008
Binding made by Carlos Quesada with marbled paper. Consertina book made of 8 pages. The serpentine can be removed from the covers.
The text, which is in the shape of flowers, says: Gustavo, (my husband's name) Marina, Mora, Cata and Peky (my daughters' names). Love
This artwork will form part of the Hans-Joachim Burgert's collection of calligraphy in the Akademie der Künst in Berlin, Germany.
Deep peace
(Celtic prayer)
“Deep peace of the running waves to you.
Deep peace of the flowing air to you.
Deep peace of the quiet Heart to you.
Deep peace of the son of peace to you” .
Bleach, pastels, silver and diamond ink on silver layers on Strathmore paper
Year: 2007
This small book is made with five envelopes sewn together in a traditional way. The work is fragmented and goes into the different envelopes which have beautiful paper inside with Florentine design. The work is done in five parts which together shape the message.
In Green
21 x 29.7 cm.
26 pages.
Inverted transfer with gouaches and silver. Coptic binding with cover made of Dimagraf and Canson Mi Tientes paper.
Year: 2007
Spine Book
“The visual representation of language continues to be one of humanity’s highest, most distinctive and varied achivements.”
100 x 0.17 mts. desplegado.
Walnut ink, sumie and colour pencils on Strathmore paper
Private collection.
Year: 2000
The binding is a wooden case covered in paper. The inside book has a snake-like shape and has eight pages.
Puzzle
Arabian proverb:
“A book is like a garden that you take in a pocket.”
Gouaches and golden layers on Magniani Bianca e Ingres paper.
Year: 2006
The work is divided into ten parts which go into envelopes. The work can be put together the way it was meant by the artist or it can be assembled on a personal basis.
Season′s book
Arabian proverb:
“A book is like a garden that you take in a pocket.”
17 x 20 cms. closed.
Walnut ink, gouache, sumie, copper, silver and golden layers on Arches Text Wove paper. Japanese brush, cola pen and nib.
Ingres binding and on handmade paper made by Carlos Quesada.
Private collection.
Year: 2006
Each book represents one of the four seasons.
All books go into a case covered with Japanese paper sent by my friend Satsuki de Fukuoka from Japan.
The text in Spanish is written in my botanical alphabet. The same text in English, French, German and Italian is written in a personal handwriting throughout the book.
It is illuminated with golden, silver and bronze diamonds according to the colour used for each season.
Spring
Arabian proverb:
“A book is like a garden that you take in a pocket.”
Gouache on Arches Text Wove paper, Japanese brush and cola pen.
Serpentine-like binding with six pages made by Carlos Quesada on Strathmore paper.
Private collection.
Year: 2005
The book is wrapped the Japanese way in pink gauze.
Pentecost and Genesis
“And after eight days again his disciples were within, and Thomas with them: then came Jesus, the doors being shut, and stood in the midst, and said, Peace be unto you. Then said he to Thomas, Reach hither thy finger, and reach hither thy hand, and thrust it into my side: and be not faithless, but believing .”
30 x 22 cm.
12 pages.
Acrylic, inks, gouache, walnut ink and sumie. Copper and bronze layers on Schöeler paper.
Hinge binding on fabric made by Carlos Quesada.
Private collection.
Year: 2000
Blue Book
Arabian proverb:
“A book is like a garden that you take in a pocket.”
This text appears in English, French and German throughout the book.
Walnut ink and gouaches on Arches Text Wove paper.
Serpentine-like binding with six pages made on Ingres paper.
Year: 2005
Autumn
Arabian proverb:
“A book is like a garden that you take in a pocket.”
Gouache on Arches Text Wove paper. Japanese brush and cola pen.
Binding made by Carlos Quesada on handmade paper and Amate paper (Mexican paper).
Serpentine-like book with six pages.
Year: 2005
Orange Version
21 x 29,7 cm.
24 pages.
Inverted transfer with gouaches and gold.
Coptic binding with marmolado paper with cover made with Canson Mi Tientes paper. Marmolazo and paper case.
Year: 2007
Life force
“There is vitality, a life force, an energy, a quickering that is translated through you into action and because there is only one of you in all times, this expression is unique. If you block it, it will never exist through any other medium and it will be lost. The world will not have it. You must keep this channel open. It is not for you to determine how good it is or how valuable, or how it compares with other expressions. It is for you to keep it yours, clearly and directly.” Martha Graham.
35 x 25 cm. closed
12 pages.
Bleach, chalk pastels, colour pencils, gouache on Japanese paper: (Zubiki Yoshi), Magniani Bianco, Dimagraf (Kimberly, green) and Guarros.
The binding was made by Carlos Quesada on Dimagraf paper as well as the case in binding fabric.
Private collection.
Year: 2005/2006
Este libro es el resumen del workshop que tomé con Thomas Ingmire
en Seattle, Washington en 2004.
Winter
Arabian proverb:
“A book is like a garden that you take in a pocket.”
Gouache on Arches Text Wove paper. Japanese brush and cola pen.
Serpentine-like binding with six pages made with handmade paper in a cloth envelope.
Year: 2005
Invisible to the eye
“Go and look again at the roses.
You will understand now that yours is unique in the world.
Then come back to say goodbye and I will make you a present of a secret”. “Goodbye”, he said.
“Goodbye”, said the fox.
“And now here is my secret, a very simple secret: It is only with the heart that one can see rightly. What is essential is invisible to the eye. What is essential is invisible to the eye”, the little prince repeated, so that he would be sure to remember.
“It is the time you have waisted for your rose that makes your rose so important. Men have forgotten this truth”, said the fox. “But you must not forget it. You become responsible, forever, for what you have tamed. You are responsible for your rose”.
Little prince. Antoine de Saint-Exupéry.
22 x 36 cm. closed.
240 x 35 cm. open.
walnut ink and gouache on handmade, Strathmore and Magniani Bianca paper. Japanese brushes and cola pen. Stamps and golden layers. Japanese brush, cola pen and British quill pen.
Binding made together with Betina Naab with Ingres and handmade paper.
Private collection.
Year: 2005
This book is the summary of the workshop I took with Thomas Ingmire in Seattle, Washington in 2004.
