One of the most interesting parts of the project is having to face the challenges of collaborative work. Working with artists and designers, or developing exclusive proposals for specific spaces or organisations, involves a process of reflection that expands the limits of one’s own creativity.

Collection for the Thyssen-Bornemisza Museum gift shop

It might seem, initially, that creating from a premise translates into creating with limits. Nothing could be further from the truth.

All the items available from the Thyssen-Bornemisza Museum shop in Madrid are intimately related to the Museum’s collection, and those of us who have had the privilege of contributing to their range of products also take on board the challenge of creating from appropriation.

But what does creating from appropriation actually mean? All creative acts start from our own will, but are underpinned by our own previous experiences both as creators and spectators, and it is this memory, ever latent and expanding, that forms the base for each new artwork.

Creating never means creating from nothing, and creating from appropriation implies the step of activating that conscious memory, and also in this case, of attaching the process to a concrete corporeal object, with a history and a name.

My starting point was Robert Delaunay’s Still-life with a Parrot (front side) from 1907.

Although I consider myself an admirer of Delaunay’s work, as a viewer I had always focused on works that presented relationships between shape and colour, stripped of references of any type. Therefore, working from this still-life forced me, first of all, to try to learn more about its creation, and then later expand my own limits while uncovering new possibilities: to incorporate into my work colours that do not usually appeal to me, shapes I do not regularly work with, spatial layouts that I do not habitually research, and so on.

That is basically the game of appropriation.

Going beyond that first contact with the object, which marks the beginning of this process, is the most difficult part. To explore something that is not inherent to us, that presents itself as a closed and finished object, and try and make it our own, uncovering reasons for building something new – this is of course a challenge, but also a great opportunity to tread new paths.

I have included images of the process in this post.

Working with Colindante Ediciones

From the start of the project, the focus was on textile design and experimentation, but also on the use of the resulting textiles for the production of everyday objects.

In the beginning, they were portable objects (handbags, pouches, wallets, etc.), but the nature of a living project always leads to the incorporation of new fields of action. And so, naturally, the need arose to add the sphere of inhabiting to the act of carrying, and hence the printed works were transferred to objects that occupy everyday interior spaces.

Cushions were the first objects to be produced and conceived for interiors, and they opened the door to new possibilities.

Luckily, we cannot do everything ourselves, so collaborative work is the best way to grow. The key is to find like-minded people and projects to share the passion for design and the adventure of undertaking new endeavours, and that is exactly what happened with Colindante. We have poured our joint efforts in the lamps presented to you here, which you can also find at Colindante.

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