In "Shape Memory Alloys", Ximena Garrido-Lecca uses different forms of industrialized metals, such as copper or bronze, to create structures and hand-stamped textiles. Disassociating the material from its contemporary function as an electrical conductor, Garrido-Lecca tries to return metals to the artisan practices and cultural manifestations of earlier times.
The warmth that characterizes the craftsmanship of textiles collides with the industrial nature of the material, projecting itself into the tense history of colonialism. The use of metal as a raw material to discuss traditional forms of work suggests a reappropriation of natural resources, moving them away from industrialization and acquiring a symbolic dimension. As the title suggests, the physical properties of these metals, from their conductivity and malleability to their ability to form a "shape memory alloy" (a metal that reverts to its original shape when exposed to certain conditions) are poetically linked to cultural memory.

In "Shape Memory Alloys", Ximena Garrido-Lecca uses different forms of industrialized metals, such as copper or bronze, to create structures and hand-stamped textiles. Disassociating the material from its contemporary function as an electrical conductor, Garrido-Lecca tries to return metals to the artisan practices and cultural manifestations of earlier times.
The warmth that characterizes the craftsmanship of textiles collides with the industrial nature of the material, projecting itself into the tense history of colonialism. The use of metal as a raw material to discuss traditional forms of work suggests a reappropriation of natural resources, moving them away from industrialization and acquiring a symbolic dimension. As the title suggests, the physical properties of these metals, from their conductivity and malleability to their ability to form a "shape memory alloy" (a metal that reverts to its original shape when exposed to certain conditions) are poetically linked to cultural memory.