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It’s linked to the sense of touch and to the sense of sight; that is to say, it can be created by visual or tactile means. The texturals can occur through the structure of the fabric or certain treatments to the surface. In this sense, the surfaces can be flat or three- dimensional, but they are typically combined with visual and tactile effects.

On many occasions, the colour used relates to the textures as it represents a guide to the aesthetic proposal that will be designed, generating appeal and contrasts and at the same time boosting the elements at the surface.

The central element in the visualization of textures is light. It’s through light and the nuances generated by the different illuminated fields (lights and shades) that the elements typical to the surfaces start revealing themselves, showing how the textile is constituted, and how it relates to the parts that piece it together.

In this sense, the texture appears through the textile, which is the material that covers or uncovers the body, participates of its morphology and generates a relationship of the body and its surroundings. In this way, the textiles and how these relate to the user and the sense of touch, is one of the elements that defines the relationships that are established between textile/texture/user.

There are several textile structures: from open nets to meshes made out of countless fine threads. There are lightweight or heavy, rigid or soft, resistant or delicate fabrics. Circular knit, Weft knit, matted, metallized yarns, silk thread nets and felts.. Each one of them establishes a constitutive aesthetic (as it’s defined when the fabric is created), which frames it in a specific space of aesthetic creation.

Finally, regarding the aesthetic connotations, we can say that textile is originated as one of the first cultural and artistic manifestations of human life, and as it is organic, it represents an intrinsic bond between man and ecosystem.

Contrahilo Team

Romina Meier (VOLGA)

As a starting point, her referents are nature’s different textures, which are characteristic of different parts of the plant and animal kingdom (e.g. petals, scales) and it is from the observation of these surroundings where she gathers her palette of exotic colours and gets inspiration on how to use it.

Another important referent in Romina’s work, are Japanese engravings and textiles, which determine the elements that constitute some of the patterns in her textiles.

She applies and transmits her inspiration and referents through the Jacquard technique, which uses a machine. She creates a new ‘fabric’: part of a geometrical and figurative module that, through a graphic composition, is repeated and articulated within a screen, originating a new fabric sheet.

Volga finds the origin of her name in a Russian river (Volga river), the longest in Russia. Romina takes this name as a metaphor, a long thread that is woven through the country and part of Europe.

Photography: María Luisa Murillo

Designer Contact

Web Mail: romina.meier (@) · Teléfono: 560 9 519 7240


Her photographic projects are like cartographies of the traces left by human beings in the world that surrounds them. From practically the beginning of her career (late 90s) Maria Luisa Murillo has focused her projects around intimacy, everyday life and monotony, as experiences undergone by human beings. For Murillo, her landscapes are not static entities, they are bodies moulded day and night by physical traces, constructions or graphic elements taken from collective or individual activism. Like mirrors, the spaces we inhabit “speak for themselves”, showing the organic relationship we have with them. The poetics of everyday life.

lucha (@) Su Web