These works can be viewed from several angles. The diptych “everything we thing we know, opens a door to the inside of a work. It interacts with the viewer telling him to step inside. The two woven panels, facing each other, comprise a patchwork of papers and photographs as well as found natural elements like tree skin, all inlayed between two woven layers, one that hides it and one that reveals it.

The name relates to the works “the storing skin” as it tries to grasp the overflow of information we inhabit in the current days. In these works those info-sediments, like the artist views them, are stored in layers and integrate the body of the work. Becoming the work itself, they are part of its history, therefore Maria’s gathers elements that contrast humanity’s origins with its progress and more over its undeniable excess. Maria is interested in how to perceive history as a accumulation and storing of truths that are successively forgotten or written over. Just like the act weaving itself, every thread succeeding the other, changing it, complementing it, in a progressive journey forward.

Although the works are full of chromatic and text references, this can only been seen from inside. In order to get to know the true nature of a work or its structural aspects the viewer has to step inside…

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Notes by Maria Appleton