Since Paleolithic records, where patterns on stone and cave paintings appear as the first footprints of symbolic abstraction, the stroke works as the most ancient expressive system to portrait the chronological reality of different cultures. Eventually, there is an evolution into the purely technical drawing of classical architecture standards, which establishes lineal order to rank the graphical organization of space. The images in Weft are in line with this heritage: drawing is not only used as a tool of representation but also as a design gesture that precedes the material consolidation of the architectonic work.

The framework of the series emphasizes the tension network that light casts over the shapes and volumes of avant-guard works.

This photography becomes an exercise to weave a new synthesis: a deconstruction operation in which each piece loses its tectonic weigh to change into a grammar of lines and voids. As we remove context and scale from the structure, the image regains the identity of the original weft and reduces its volumetry towards a bidimensional abstraction in dialogue with the principles of design as a conceptual bridge where the solidity of the architecture is translated into the visual synthesis of the photography.