Weaving, thought of as the action of intertwining concepts and materials, has always been present in the work of Margaret Mariño. In her work she investigates the interstices of representations and the traditions of these practices; it reflects on the supports and means through which teaching and repression of women have been exercised, and observe the lines that are knotted with others to form the cultural and social fabrics that support us.

The artist looks with suspicion at the apparent beauty and sophistication of the ornament and tries to inhabit the spaces of union and the voids full of meaning that she finds in these systems from a sensitive and intimate exploration of the materials. In Suspicion, the breaks in the fence bars of the León XIII Catholic School and its memories are repaired with oil; pedagogy is questioned and crossed by four thousand needles; organic matter becomes a blanket that billows in the room, and woven paintings and nets made of dog hair or copper wires appear, an example of the ambiguity that becomes an object and a plastic gesture.

Margaret Mariño (1988) is a plastic artist who graduated from the National University of Colombia. Her work proposes strategies that confront apparently opposite concepts and materials through assemblage, drawing, painting, and installation; while going through the exploration of uncertainty and failure as stages of the creative process. Her work has been recognized in national competitions and has been exhibited at the Gilberto Álzate Avendaño Foundation, at the Art Museum of the Banco de la República MAMU, and at Flora ARS+NATURA.