PQ 2019

The process Creation Laboratory 2013-2018

I define my work as: An intuitive to do, I am self-taught

My speech is varied and each project defines it, I do not have a design that looks like anotherI've been designing for 20 years and in the last five years the plastic of my designs starts from a first impulse for experimentation.

My vocabulary is focused on making sensations grow from the texture and I think that these sensations help to find clarity in the reading of the spectator when observing a character. In my work the explorations with textiles have developed a passion and a constant concern for the search for new materials and explore new techniques.

The 2 pieces that I expose ¨Numancia¨ and ¨ The rite of spring¨: are a clear example of what a process can be for me. How a concept grows and transforms to a design.

I have been lucky to find directors and set designers with the disposition to create a universe together, the designs where there really is an evolution of a first approach are those who have the time to evolve developing a concept, a vocabulary that belongs only to the creative team that shapes it and allows to create an aesthetic of that montage. Every time I face a new project I realize that there is no recipe, every time we start in different ways and we come to different things because they are the ones that make up the project. that define its course and its discourse. I also realize that I have done my job, I do not have a formula to start designing when facing a project, I depend a lot on an exchange between the elements (people) that develop a work.

I have modified complete designs to see the scenographic proposal and I have no problem transforming a wardrobe because in the test with the actor I understand what does not work, I work very close to the actors, creating a character is not something that comes out of me quickly, and creating a visual universe is a slow process and I do not get there immediately. It takes time to make mistakes and my costumes have become manual work almost artisan, there is a lot of my hand in each wardrobe that design, make a piece has become for me a laboratory of experimentation with the subject. And it is at that time invested where I find meanings and I make my proposal have a clear reading.

Numancia was a unique process, it is a project that I designed while developing with a support from FONCA a catalog of textures and modified textiles; that led me to make the decision to produce the fabrics of the costume design of the work Numancia.

Besides the fascination that the possibility of creating a textile caused me, I proposed to the director that we work with charcoal and we were smudging the bodies of the actors, we arrived at the meaning of the earth as blood and from there to the mud, the black mud it became the bloodstain, the impact of the mud on the actor became the action, the trace of violence and the living material in the work. This creation process was developed with a creative team that allowed me to take my work to a completely free exploration and the idea with which we started at the beginning was evolving with the set designer, the director and the actors in a fascinating process.

Believing, creating and following processes ... leaves a need in my work to continue developing hypotheses that others have already raised about the material and the future and the evolution of design ... and a need to recover ancestral techniques in my work.

Organic matter, fibers and natural dyes and a recent approach to speculative materials such as bacteria and bioplastics have led me to transform my workshop in a search laboratory ... sometimes it smells like vinegar, it looks like a kitchen and not a sewing workshop.

From the mistakes of the process creating my materials I obtained very disturbing photographic images that led me to think about the textile as-skin and this thought was the starting point when I was offered to design The consecration of the spring with the proposal the textures and colors achieved with this Exploration producing my own materials were the trigger to stage the Aztec rite dedicated to the god Xipe Totec, which consisted of skinning a captive warrior to remove the skin and dress with that human skin...

Premiere | March 10, 2018
Shows with orchestra | 11,13, 15,18 | PALACE OF FINE ARTS MÉXICO CITY
Music | Igor Stravinsky
Choreography | Demis volpi
Set design | Jorge Ballina
Costume design | Jerildy Bosch
Lighting Design | Claudia Sanchez
Makeup design | Maricela Estrada

Premiere | October 5, 2016 | XLIV INTERNATIONAL CERVANTINO FESTIVAL, State Auditorium of Guanajuato
Original | Miguel de Cervantes
Version by | Ignacio Garcia
Stage director | Juan Carrillo (World première)
Scenography and lighting design | Jesus Hernández
Costume design | Jerildy Bosch
Choral direction and musical composition | Juan Pablo Villa
Sound Design | Valeria Palomino
Verse Workshop | Ignacio Garcia Verse Advisor: Emma Dib
Movement counseling | Antonio Salinas
Makeup design | Mario Zarazua
Hairdressing design| Maricela Estrada


She began her career in the performing arts 20 years ago as a dancer and actress.

She founded the company, Circus Raus and began designing costumes for the shows she directed.

In an empirical and self-taught way, she started working as a costume designer for other directors and companies.

She has collaborated as costume designer in more than 100 shows. She works regularly with the National Theater Company, National Opera Company, National Dance Company and with some independent theater companies in Mexico.

She participated in the 11th, 12th and 13th Prague Quadrennial and in the PQ07 He received the Gold Medal for Best Theatrical Costumes together with the Designers of the National Pavilion of Mexico.

In 2017 she participate in the WSD in Taipei Taiwan.

In 2014, she received a grant from the National System of Art Creators of FONCA, that allowed her to explore for 3 years, various techniques to intervene and modify textiles.

“In recent years, my artistic language is derived from experimenting with materials, often taking up old techniques and applying them to current contexts.

The material itself has life and that is what I seek to maintain in my designs”