Lina’s work has always been driven by the concerns about the perceptions we all have about the different themes that surround us and what we have always been told 'should be'. In her work, all these questions dialogue with each other, being exposed through different plastic, visual, sculptural, and artisan techniques that support the creation of each piece.
Through the exploration of concepts backed by rigorous research, my message is primarily to raise questions around non-absolute truths and to expose my different points of view. Always starting from illustrations and evolving them from the exploration of different techniques, thus allowing different ways of illustrating beyond just paper and pencil. A permanent interest in understanding, telling and exposing those narratives through unifying elements of fashion and art.
My explorations have always carried intrinsic intentions to question myself and others about what we have been told 'it is' and 'how it should be', thus generating evolutions that expose different points of view and therefore different possibilities. In the creative process, the unique knowledge of the artisanal mixed with different techniques, is approached to disfigure what is established from the own and other people’s knowledge to present it as a non-absolute reality.
my intention has been to show conceptions about the human body based on geometric deconstructions (relying on geometry as a representation of ‘the established’). Lines and constructions that emerge, rethinking the literalness of the human figure in order to fade it, leaving open possibilities on the understanding of the corporal canons and the accuracy that is attributed to it. From artistic expressions, I give way to the disfigurement of the body through replacing, moving, shaping and modifying.
Thus taking illustration beyond pencil and paper: the garments become my canvas and begin to communicate from their silhouette and their structure. there is always constant experimentation between materials and textiles that strengthen and enrich the construction of silhouettes and illustrations. The choice of materials is not far from the conceptualization process since they also tell the story. I carry out a graphic textile development, making use of felted wool to illustrate distorted faces; emphasizing a construction and deconstruction of beauty paradigms. The silhouettes could appear simple but curved, asymmetrical and voluptuous because they speak about the relationship between the inhabited body and its relationship with space. The illustrations may sometimes not be part of the final product but they are the ones that give me elements to build the silhouettes and the way they are built. I do explorations of the human anatomy and how that anatomy would be transferred to a piece of clothing.