next morning, I woke up in a small room which, though elegantly furnished, was
somewhat austere and anonymous. It did have a multifunction toilet, though,
which reminded me I was on the other side of the planet. Ready to head out and
discover Tokyo, I went by Churba’s room to pick him up. Though we had worked together
for years and collaborated on many projects, it was not until I walked into a
“Churba room” that I witnessed in the flesh for the first time the
transformative power of his work.
Strips of colored tape, patterned garments, necklaces hanging from the light fixtures, pieces of fabric, paper, prints, and dresses—a great many dresses—had seized the room, moving his creative office in Recoleta to this sliver of Japan.
At first glance, it looked as if his suitcase had exploded and everything in it had splattered around the room, taking it over. That reflexive action was unquestionably the origin of this show.
Martin Churba’s way of pursuing his creativity is unique. It is characterized by the speed of reflexes and by his confidence in his own methods, a sense of assuredness that, in the end, he will find what he is looking for. Clavajem de tela is an outgrowth of that appropriation of space. With the power of an explosion, its origin lies in a bookcase full of inspiration that, as it bursts, scatters around shards of textiles, intervened remains that this simple process has rendered the inner skin of the gallery.
"Martín & Martín, say the ceiling fans that scatter everything that ventures into the middle of the room. From axis to world. That is the image that has been flying around my head from the very first day I began working with Martín H, whether in Monoambiente, on the catwalk, or at a Tramando boutique. We morphed from a ceiling fan into a twin-engine helicopter (they say we look alike...) and we fly away together.
Thank you Martín!!”
Photographies by Ignacio Coló