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The Alchemy of GreyGrey has a reputation problem. We call it neutral, background, the absence of something more interest...
07/06/2026

The Alchemy of Grey

Grey has a reputation problem. We call it neutral, background, the absence of something more interesting. Something boring between black and white.

But every rich grey is a secret. Ultramarine, sienna, violet and burnt umber quietly dissolved into balance, none dominating, all present.

The moon we mostly see as grey is hiding rust, cobalt and gold across its entire surface. The photographer pushed the saturation so our eyes could finally see it.
Painters have always known it.

Nothing that seems neutral ever truly is.

Slides 2 and 3 by

Love Letters from .imaginations As I’m sorting through my curiosity cabinet, arguing with my own madness 🤦‍♀️ because fi...
30/05/2026

Love Letters from .imaginations

As I’m sorting through my curiosity cabinet, arguing with my own madness 🤦‍♀️ because finding an archive system for a museum of f***ing everything is no small thing.. I want to reframe what this actually is and share it with you.

This isn’t a collection. It’s my vocabulary that end up in détournements, bricolages, Objet trouvé, in custom or bespoke alteration pieces, Millinery interventions;

Jodorowsky taught us that objects carry psychic charge. Psychomagic is the act of transforming that charge through symbolic gesture, not just art, not just craft, but a real act of shifting energy.

Military stars. Imperial crests. Symbols of rank, obedience, conquest. Objects that spent decades telling people who was above and who was below.

They find me at antique and flea markets - my natural habitat ;)

And I relocate them. Into another world. Where the same star that once pinned authority to a chest becomes something else entirely. A spell, a question, a different kind of power.

This vocabulary has one purpose: to tell stories that shift what these symbols mean. To disarm them. To make them serve love instead of hierarchy.

Because we have an army too: the Army of Love.

And because hats are not only for heads but also for minds.
🎩 🧠 🪶

What are you collecting and why?

The Etymological MisunderstandingIn the 15th century, Portuguese traders arriving on the West African coast encountered ...
30/05/2026

The Etymological Misunderstanding

In the 15th century, Portuguese traders arriving on the West African coast encountered objects that communities lived in deep relationship with. Objects that concentrated force, that mediated between visible and invisible worlds, that operated within sophisticated systems of knowledge.

They had no framework for what they were seeing. So they reached for feitiço, sorcery, something made by hand, and called it fetisso. In that act of naming, an entire cosmology was classified as primitive superstition.

The word traveled. Marx borrowed it for his critique of capitalism, commodity fetishism, the mystification of social relations through objects. Freud took it further into the territory of sexual pathology and displaced desire. Each thinker redirected the concept, but none questioned its founding assumption: that the original relationship between humans and charged objects was a form of delusion.

What none of them considered was the possibility that these objects represented something entirely different, a material intelligence, a spiritual technology, a language in which matter and spirit were never separated to begin with.

This is not an exclusively African phenomenon. The Celtic relic. The Shinto ofuda. The Andean conopa. The Huichol nierika. The Akan gold weight, to name just a few. Across every culture and continent, humans have understood that objects can concentrate force, hold memory, mediate relationships between worlds.

It is worth noting that this is not a universal human story. Many cultures, Japanese, Mexican, West African, Andean among others, never separated spirit from matter to begin with. The division between the sacred and the material is not a human default. It is a specific Western colonial inheritance.

Decolonizing Fe**sh is an attempt to offer a different perspective. Perhaps it is worth rethinking our mindset and have a new reading on old knowledge.

From .imaginations with ❤️XK

Two makers. Two languages. One ethos.Linen and leather.Soft and resilient.Slow-crafted with care.We both work outside th...
15/07/2025

Two makers. Two languages. One ethos.

Linen and leather.
Soft and resilient.
Slow-crafted with care.

We both work outside the noise —
rooted in intention,
shaped by material,
drawn to forms that move freely
between body, spirit, and identity.

Distinct voices,
with a shared pulse.
Not merging, but resonating.
Not competing, but completing.

Create your own set,
crafted to your movement.
Custom requests and colors available.

Muse
Stills by the one and only
Jedi linen set
Water bottle bag and belt by .xk









Nature is not something we visit.It’s something we are.Every fiber, every breath,every act of makingis part of an ongoin...
15/07/2025

Nature is not something we visit.
It’s something we are.

Every fiber, every breath,
every act of making
is part of an ongoing exchange.

We shape the earth
and it shapes us back.

The illusion of separation
is the root of destruction.

What would change
if we remembered
we are not above nature,
but part of it?

Stills
Muse

Sister time = quality time with .sanchez.urquiza
12/07/2025

Sister time = quality time with .sanchez.urquiza

Unpacking sustainability Cultural Diversity = SustainabilityWhen we speak of sustainability, we often think of forests, ...
27/06/2025

Unpacking sustainability
Cultural Diversity = Sustainability

When we speak of sustainability, we often think of forests, oceans, and biodiversity.
But cultural diversity is just as essential
because every ancestral craft holds coded knowledge about how to live in balance with land, spirit, and each other.

From the Quipu of the Andes,
to Tibetan prayer cords,
to Chinese and Japanese ceremonial knots,
to the Yoruba bundles of power,
to Celtic and Slavic ritual ties,
to the Marshallese navigation knots,
each thread held knowledge.
A language of hands, rhythm, intention, and memory.

These weren’t just techniques.
They were living archives.
When we lose them, we don’t just lose beauty, we lose ways of speaking, knowing, and relating.

To create something truly new, we must hold the past.
I work in that space between two major forces tradition and revolution, where memory becomes future.

Dirección

Crania
San José Del Cabo
23403

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