Isabella Despujols

Isabella Despujols (Venezuela, 1994), is a young visual artist with a focus on handmade embroidery. Despujols graduated in Fine Arts from the International University of Art and Design in Miami, and holds a degree in Art History from the University of Palermo in Buenos Aires (Argentina).

Isabella's work reflects her own history, born from her earliest visual references. "My parents are architects and I grew up surrounded by geometric drawings of projects they worked on. They also collected Venezuelan artists who were based on geometric abstraction, so the first works of art I came into contact with already posed that language. For me, geometry is the basis that speaks of what my first influences were, and also of the strong tradition of these movements in my country, which grew out of great masters such as Cruz-Diez and Jesús Soto. I pay homage to both of them in my work".

For the artist, embroidery is currently her favourite discursive medium. Due to her knowledge of oil painting (she was trained in Fine Arts with a specialisation in painting) she develops a technique in which she works the embroidery as if it were painting: "I embroider layers of colours that are juxtaposed and form new colours, resulting in that chromatic degradation that is perceived in all the works".

Isabella Despujols

34, 2020

Lienzo bordado

80 x 120cm

Interview:

What inspires you when you create?

When it comes to creating, there are two universes that particularly inspire me, on the one hand Kinetic Art, especially the artists Cruz Diez and Jesús Soto, and on the other hand everything that has to do with embroidery and that feminine tradition. In my family there was always this tradition of manual work, but all confined to the domestic environment and thought of those things that can be useful, such as towels, bedspreads, I always had this fascination for manual work, whether collage or painting. I began my training in Fine Arts as a painter, so I carry a bit of this legacy of working with oils, but the feeling of thread and making with thread, creating things from nothing, was something I always felt a fascination for.

Basically I combined these two universes and from there I was able to give life to the work that I have been developing for a short time, a couple of years, and which I have been perfecting over time. It's a bit like the visual project of the kinetic artist that has to do with reproducing real movements in the work, but my contribution has to do with the sensitivity that embroidery gives. I take the legacy of these artists and try to translate it with lines and the imperfections of manual work and make it so that it doesn't look like manual work, but in reality it's all done by hand through an artisanal process. My main objective, let's say, has to do with extending or expanding what we all generally know as embroidery and its characteristics, which are mainly figurative images and above all utility, the non-artistic and every day, which is found in a domestic environment, and by combining it with kinetic art I try to elevate everything that has to do with the tradition of embroidery and this craft, so that it ceases to be a craft and a work with an artistic finish can be achieved.

Isabella Despujols

Díptico, 2021

Lienzo bordado

100 x 200cm

What are you working on recently?

My most recent work are two works here in the background, in which the main elements are spheres. I've always felt a fascination with geometry and in fact it's a visual language that I'm quite close to, because my parents are architects, and I grew up with this visual reference to geometry, straight lines, planes, three-dimensionality. Here I try to achieve through a composition, achieved by circles, a work that wants to create a movement through the juxtaposition of different colors and how through the embroidery of different colors, new tones are created in our eye, and this gradient effect emerges. Basically, my current work has to do mainly with the study of color and the new possibilities that can arise through embroidery.

Isabella Despujols

48, 2021

Lienzo bordado

100 x 100cm

Tell us about your creative process

My work process is inspired by oil painting, I first start by painting the background in a homogeneous colour, because my idea is to highlight the embroidered work. The way I embroider emulates the process of oil painting, I first start by applying a first layer of a single colour with the embroidery and then I add layers of colours, it is a very gradual work. It is precisely this process of embroidering different layers of colours with the threads that generates the kinetic effect that I want to achieve in my work.

What do you expect from Art Madrid?

I'm very excited to be able to participate for the first time in Art Madrid and I think that this contact with the public and this exchange that takes place with the public that approaches the work is very enriching for me. My idea, or what I would like, is to be able to show my work for the second time in Madrid and for people to connect with my proposal and for them to get to know a little about other possibilities that can be done with embroidery.

How did you start working on your latest works?

At the beginning when I started my approach to embroidery, one of my first references was a Mexican tablecloth that a Mexican friend had given me, she knew that I was very interested in the technique. I remember it was a tablecloth with geometric shapes and extremely colorful, one of the approaches I wanted to take was to be inspired a little by these synthetic shapes that are typical of Mesoamerican, pre-Columbian embroidery and to see how I could develop my own technique. I found myself by imitating and copying these figures until, well, I started to separate myself from the figuration of Mesoamerican embroidery and developed my own technique, which is what I am currently working on. Those looms were a very important reference for me, especially when I was beginning this project of combining painting with embroidery.

Isabella Despujols participates for the first time in Art Madrid with the Brazilian gallery Jackie Shor Arte, together with the artists Aline Sancovsky, Nathalie Cohen and Osvaldo González.

The circle as critical device and the marker as contemporary catalyst

POSCA, the Japanese brand of water-based paint markers, has established itself since the 1980s as a central instrument within contemporary artistic practices associated with urban art, illustration, graphic design, and interdisciplinary experimentation. Its opaque, highly pigmented, fast-drying formula—compatible with surfaces as diverse as paper, wood, metal, glass, and textiles—has enabled a technical expansion that extends beyond the traditional studio, engaging public space, objects, and installation practices alike.

In this context, POSCA operates as more than a working tool; it functions as a material infrastructure for contemporary creation. It is a technical device that enables immediacy of gesture without sacrificing chromatic density or formal precision. Its versatility has contributed to the democratization of languages historically associated with painting, fostering a more horizontal circulation between professional and amateur practices.

This expanded dimension of the medium finds a particularly compelling conceptual framework in The Rolling Collection, a traveling exhibition curated by ADDA Gallery. The project proposes a collective investigation of the circular format, understood not merely as a formal container but as a symbolic structure and a field of spatial tension.

Historically, the circle has operated as a figure of totality, continuity, and return. Within the framework of The Rolling Collection, the circular format shifts away from its classical symbolic charge toward an experimental dimension, becoming a support that challenges the hegemonic rectangular frontality of the Western pictorial tradition. The absence of angles demands a reconsideration of composition, balance, and directional flow.

Rather than functioning as a simple formal constraint, this condition generates a specific economy of visual decisions. The curved edge intensifies the relationship between center and periphery, dissolves internal hierarchies, and activates both centrifugal and centripetal dynamics. The resulting body of work interrogates the very processes through which images are constructed.

Following its 2025 tour through Barcelona, Ibiza, Paris, London, and Tokyo, a selection of the exhibition is presented at Art Madrid, reinforcing its international scope and its adaptability to diverse cultural contexts. The proposal for Art Madrid’26 brings together artists whose practices unfold at the intersection of urban art, contemporary illustration, and hybrid methodologies: Honet, Yu Maeda, Nicolas Villamizar, Fafi, Yoshi, and Cachetejack.

While their visual languages vary—ranging from graphic and narrative approaches to chromatic explorations charged with gestural intensity—the curatorial framework establishes a shared axis: a free, experimental, and distinctly color-driven attitude. In this sense, color functions as a conceptual structure that articulates the works while simultaneously connecting them to the specific materiality of POSCA.

The marker’s inherent chromatic vibrancy engages in dialogue with the formal assertiveness of the circle, generating surfaces in which saturation and contrast take center stage. The tool thus becomes embedded within the exhibition discourse, operating as a coherent extension of the participating artists’ aesthetic vocabularies.

One of the project’s most significant dimensions is the active incorporation of the public. Within the exhibition space—activated by POSCA during Art Madrid’26—visitors will be invited to intervene on circular supports installed on the wall using POSCA markers, thereby symbolically integrating themselves into The Rolling Collection during its presentation in Madrid.

This strategy introduces a relational dimension that destabilizes the notion of the closed artwork. Authorship becomes decentralized, and the exhibition space transforms into a dynamic surface for the accumulation of gestures. From a theoretical standpoint, the project may be understood as aligning with participatory practices that, without compromising formal coherence, open the artistic dispositif to contingency and multiplicity.

The selection of POSCA as the instrument for this collective intervention is deliberate. Its ease of use, line control, and compatibility with multiple surfaces ensure an accessible experience without diminishing the visual potency of the outcome. In this way, the marker operates as a mediator between professional practice and spontaneous experimentation, dissolving technical hierarchies.

The title itself, The Rolling Collection, suggests a collection in motion—unfixed to a single space or definitive configuration. Its itinerant nature, combined with the incorporation of local interventions, transforms the project into an organism in continuous evolution. Within this framework, POSCA positions itself as a material catalyst for a transnational creative community. Long associated with urban scenes and emerging practices, the brand reinforces its identity as an ally of open, experimental, and collaborative processes.

POSCA x The Rolling Collection should not be understood merely as a collaboration between a company and a curatorial initiative; rather, it constitutes a strategic convergence of tool, discourse, and community. The project proposes a reflection on format, the global circulation of contemporary art, and the expansion of authorship, while POSCA provides the technical infrastructure that makes both individual works and collective experience possible.