2026 PROYECTOS ULTRAVIOLETA + PUBLIC GALLERY

The Fold, group show
Proyectos Ultravioleta hosted by Public Gallery, London (CONDO)
January 17 – February 21, 2026

Participating artists: Hellen Ascoli, Maya Gurung‑Russell Campbell, Sayan Chanda, Mark Corfield‑Moore, Sarah Crowner, Regina José Galindo, Xin Liu, Felipe Mujica, Rose Nestler, Johanna Unzueta, Elisabeth Wild.

Photos courtesy of Public Gallery, London

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Press release: For Condo London, Public Gallery and Proyectos Ultravioleta are pleased to present The Fold, a collaborative group exhibition of eleven international artists proposing a dialogue between textiles and space. Taking its title from Gilles Deleuze’s concept of ‘the fold’, this exhibition imagines the ‘fabric of reality’ as entirely interconnected, as if constituted by a single, continuous surface. In her essay Folds, Fragments, Surfaces, Pennina Barnett summarizes the Deleuzian fold as “a virtual, even cinematic image – of ‘points…referrals, spaces’; an infinity of folds always in motion, composing and recomposing without inside or outside, beginning or end”. Foregrounding practices that understand woven forms and the accumulation of everyday fibres as sites of embodied knowledge, the exhibition examines how textiles invite an investigation into the spatial and temporal. By interrogating fabric-based works alongside sculpture, installation and performance, The Fold situates textiles as a structural and material logic, providing the lens through which fabric and fibre can shape dynamic systems of relation.

Felipe Mujica’s textile works extend abstraction into space, staging his fabric sculptures as a form of architecture. His Curtains – often described as ‘drawings in space’ – hang like monochromatic banners with sewn designs recalling modernist geometric vocabularies. Yet, they remain deeply situated within local histories of craft and tradition; through his works, Mujica has established dialogues and socially engaged projects, from collaborations with a Brazilian embroidery collective to Wixárika artisans from Zacatecas in Mexico. He understands these works as domestic architectures, surfaces open to receive history.

Where Mujica understands textiles as spatial propositions, Maya Gurung-Russell Campbell mobilizes abstraction as a semiotic field. Jute fibre and cotton rope compose Campbell’s installation, Black Standard (2026), resisting the grid in favour of a repetition-based double knot structure. Jute and cotton materially index histories of colonial extraction, labour and production in the Global South, while fragments of the Union Jack flag and St George’s Cross reference past and present formations of British national identity and questions of belonging. The language of fibre is equally generative and hopeful; networks of accumulated knots visualize collectivity as an ongoing process, shaped by endurance and shared history.

While rooted in the visual traditions of geometric abstraction, Sarah Crowner’s works engage with the expanded field of painting, functioning not as images but instead as objects. Her monochromatic wool embroidered canvas is meticulously composed stitch-by-stitch, patterning subtle shifts in colour and gentle curves in the threadwork. Her works on paper, or ‘stitch maps’, read like currents, instructing the choreographed movements of her embroidered panels. Exploring the tension between order and spontaneity, her works map what Deleuze and Guattari describe as smooth and striated space; embodied and relational, Crowner prioritizes physicality over representation.

Extending this logic, Elisabeth Wild’s kaleidoscopic Fantasías are cut-and-paste collages populated with totemlike structures, altarlike platforms, glossy windows, doorways and thresholds. The works are geometric and architectural, with a quilted cohesion influenced by Wild’s years as a textile designer. Composed from cut fragments, her material process references her story of migration and displacement, from Austria to Argentina, Basel to Guatemala. Simultaneously, they align her closely with the aesthetics of hauntology, in which collage serves as a device for the spectral potential of past narratives to remain ever present.

The spectral takes embodied form in Regina José Galindo’s ongoing performance series Aparición, which stages veiled figures in public spaces as transient monuments to victims of femicide. Cloaked in weighted fabric, the figures operate within what Deleuze might call a folded temporality, collapsing past and present into a shared plane of urgency, interrogating the structures of monumentality and remembrance. In her essay A Threatening Presence, writer Georgia Phillips-Amos argues “rather than commemorate or memorialize lives past, Galindo’s Aparición follows Judith Butler’s definition of spectre as ‘foreclosed and yet surviving’. Their time is ours, and vice-versa”. Galindo’s work thus establishes a presence in place. Returning again to Barnett, “Yet within the hollow of the fold, and despite its closure, a leap may still be possible: not a leap elsewhere…but rather leaping in place…and thus distorting or displacing the ground (the foundation, or its unfounding)”.

Mark Corfield-Moore’s weaving practice brings us to the shared etymological origins of text and textile as systems for structuring meaning. His works incorporate fragmented phrases that sit between legibility and obscurity, echoed in a layered process of hand-painted warp threads that resist fixed interpretation. Sadie Plant’s book Zeros + ones demonstrates how the structure of textiles is foundational to the development of computation and information technology. Corfield-Moore’s ikat-woven tapestries bring these ideas to the fore, producing distorted, glitch-like compositions that resemble pixelated computer graphics. Titles operate as a further site of slippage, inviting mistranslations across language and image, or perhaps encouraging a state of being between meaning.

The Fold thus proposes a relationship between stitching and space, arguing for textiles’ potential to reconfigure spatial, social and temporal infrastructures. Across practices that span abstraction, performance and installation, folding serves as a methodology for connectivity without closure. Through material processes that act as repositories for social, geographic and cultural memory, this exhibition expands the growing contemporary discourse around textiles, weaving together the poetics of fibre with the politics and entanglement of its making.

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