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Francisa Tucas’ work is characterised by the integration of diverse worlds through signifying elements. In her thesis, the designer investigates typologies typical to altiplanic cultures, re-read as signs and interpreted by the author using her personal experience. This is how the designer creates a flat pattern block, which will later transform into fascinating garments, with a lot of volume and structures that define the body hiding behind it.

For her thesis, the creator used the ‘Aymara Poncho’ as a base structure, which was transferred in its essential condition and re-signified in a contemporary and urban context. In this way, Francisca presents a piece that in essence corresponds to the image of the poncho, but due to the use of new cuts, fabrics and textile interventions, a new garment emerges, which makes reference to that culture’s history.

Francisca’s work falls within the contemporary design scene because it is positioned in a line of creation that emphasizes recovering the identity and tradition of cultures. In some way, when recovering indigenous typologies and adapting them to a new context, not only there is a shift in meaning but in the action itself; and when investigating about ancestral cultures it forces the users and spectators to look at our culture.

Rosario Ateaga

When I frame I’m creating a scene, the theatrical elements are part of an encountered event, without manipulating the real context, for instance, the natural light. A direct photography of these series of objects in their environment, which are rubbish, waste, debris, dirt and darkness. Visibility given by the context, that context of the unused and oblivion.

The photography of objects is part of the journey I’ve taken through these abandoned warehouses. These inventoried cemeteries of stored obsolete objects -organised or simply disposed of- are made to hide the excluded, and reflect the way the city expands and starts to burst, the city that forgets material goods in favour of novelty. The abandonment of what’s left behind and stayed in another era. The contrast between a consumer society that abandons the old and those who relocate it in a contemporary context, the burden of experience, witness of a fraction of time where it existed. So, my imaginary stems from the past, from oblivion, and is linked with the collective imaginary and memories.

The recovery of the obsolete, becomes an index due to it’s traceable, deposit-like nature, which has proximity to the object and is my referent

Text by Rosario Arteaga

Contact Designer: franciscatuca (@)

Photography: Web · Twitter · email:rosarioateaga (@)