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Christian Hernán De Restrepo

@ch_restrepo

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- American/Colombian artist- textile development + storytelling.

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Alba Nohelia Betancourt, mi Abuela.
Born November 6th, 1942 in Supía Caldas, Colombia.
She is probably one of the most influential people in my life.
I was fortunate to live with my grandparents as a child. I would spend the most time with mi Abuela when I wasn’t at school, I remember playing on the floor of her sewing room with all the loose threads and bobbins. She was incredible, could make anything, all it took was a reference photo and by the next morning you’d have a fully tailored suit on the dining table waiting for you, and she’d just be there, making arepas and drinking her cafecito.
I would sometimes go to work with her, she was a seamstress at Medieval Times, all of that clearly resonated with me, the exposure to creating, to the idea of clothes being more then just fabric, but a vessel to transport you somewhere, to transform you.
She was my best friend as a child, we’d watch novelas together ( Luz Clarita was our favorite) , we’d play card games, she taught me math, how to be kind, how to offer help, and I think more importantly, patience.
These small notions and acts that you don’t realize at the time, ripple out and have a long lasting effect.
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Shown here, @heathermcgrath captured mi Abuela wearing the gold stapled embellished wool poncho that was inspired by Bachué, the Grand Mother (see what I did) from the Muisca creation story, depicted as a golden snake when she returns to Lake Iguaque with her partner.
The look is topped off with one of the earrings from the jewelry sets @hewjewelry created for me for A El Mismo.
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This is, I think my favorite portrait from the series, I get teary eyed every single time I look at it, and while writing this out haha.
While we were photographing mi Abuela, I over heard mi abuelo, Don Julio whisper to my mom, “Alba se ve increíble, cómo una reina.”
He had the biggest smile.
Gave me the biggest smile.
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Tomorrow you’ll meet Andrés Saul Orrego, my half brother.
#process #development #textile #embellishment #christianrestrepo #fashion #AElMismo by @ch_restrepo

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5 years ago

Soraya Zúñiga, mi mamá.
Born October 27th, 1963 in Cali, Colombia.
I look back on my childhood with her and reflect on the immense resilience and power she had and carried herself with as a single mother, an immigrant mother, someone who had to navigate a new country, new culture, new language, all in her 20s, with me, this small blob of a human bébé.
Our relationship, like most with parents ebbed and flowed, but the current, older me can look back with massive understanding and gratitude over various ways she handled things to the best of her knowledge at the time.
I can’t imagine and will never relate to what it must have been like to raise a child under all the circumstances she found herself in.
I’m in my 30s and I can’t even imagine taking care of a small human, and she started in her mid-20s. 🤯
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She’s funny, overly positive, superstitious, incredibly mindful, thoughtful, and attentive. She taught me the importance of beauty and beautiful design, both of your space, and of your self/person.
She cares so much to the point that it’s frustrating, but it’s the best feeling.
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Shown in her portrait captured by @heathermcgrath (who’s hair my mom was in LOVE with, swipe over to see a pic of her braiding Heather’s iconic hair)
Mi mamá is wear the silver stapled wool coat, that features elongated sleeves, metal + black seed bead detailing out a “lapel” and a mohair lining.
The look it completed with one of the nose rings created by @hewjewelry that was inspired by the portrait of Tisquesusa, the fourth and last independent ruler of Muyquytá, the main settlement of the southern Muisca.
She stands, giving flesh to the idea of our ancestors, portraying the Zipa, the ruler.
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The second portrait in the swipe over wasn’t a final for print, but I just adore her eyes and expression in that portrait. So much love and tenderness in her gaze.
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Tomorrow, you’ll meet mi Abuela, Alba.
#process #development #textile #fashion #christianrestrepo #AElMismo taken in Massachusetts College of Art and Design by @ch_restrepo

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5 years ago

Julio César Zúñiga, mi Abuelo.
Born December 6th, 1935 in Cali, Colombia.
I had the immense privilege of living with my grandparents in Texas post my parents divorce in the mid 90s.
Don Julio, the kindest and sweetest human, always welcoming people with open arms, you were part of the family from the minute you walked through the door.
He was an incredible craftsmen. He could build literally anything, I was so lucky to be exposed to such a skilled craftsmen from such an early age. I say was, because now his new craft, is cooking and gardening, since my grandmother can’t do those herself anymore.
He was and continues to be a beautiful example of what and how Latino men can exist outside of the machismo mindset, how to be open, loving, caring, emotional, and grounded.
He was and continues to be the perfect example and father figure in my life.
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In January, @heathermcgrath flew down to Florida with me to photograph my grandparents, and my mother for A El Mismo.
I am forever indebted to Heather for taking time out of her life and helping me bring different aspects of this project to life, so much of this project and world wouldn’t exist without her.
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Throughout the rest of the week I’ll continue to post the remaining portraits taken in Florida.
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But shown in his portrait, mi Abuelo is wearing the 9ft black + grey staple embellished blanket as a structural shawl, with the 32in fringe draping behind him, as well as nose rings I had collected from @inaurem__ years ago.
He stands here, giving flesh to the idea of our ancestors, portraying the wise elder.
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I get emotional every time I look at his portrait, I missed him, his voice, his kindness.
Tomorrow, you’ll meet my mom, Soraya.
#process #development #textile #fashion #AElMismo #ChristianRestrepo taken in Massachusetts College of Art and Design by @ch_restrepo

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5 years ago

So excited, honored, & thankful to be part of this year’s cohort for @wbur’s “The Makers.”
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My longstanding personal project “A Él Mismo” is highlighted in the wonderful story by @amandabeland where the project’s beginnings, points of inspiration, connection back to my family & heritage are touched upon.
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“A Él Mismo,” is a project that purposes an alternative future where Spanish colonization of what is known as Latino America had not occurred. Instead, this body of work manifest the possibilities of what Pre-Hispanic cultures might have looked like had they thrived into the 21st century without the violence of erasure & extraction.
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This body of work has been in development for the past 6 years& as I continue growing it with it’s 5th expansion, I reflect on the many layers this project contains.
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It’s brought me back to my family, back to myself, taught me the importance & heaviness of time, connection, loss, possibilities, but more importantly it’s taught me to be proud of myself, see & experience how capable I am, to love myself & understand myself a little more everyday.
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“A Él Mismo” is the alter of my practice, & I’m so excited to continue growing this project, growing alongside it, & meet who I will be at the end of it, if there is one.
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You can read & listen to the story on radio & Wbur’s website.
Photos by Robin Lubbock.
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More soon. by @ch_restrepo

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9 days ago

Excited to share new pieces driven by 2 artifacts I got to experience this past Summer visiting the MFAh in Houston.
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This set of earrings & lip ring is a response to 2 works from the Chavín culture of the northern Andean highlands of Peru, flourishing from about 900 to 200 BC. (Pics 6 & 7 in swipe over.)
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My interpretation keeps the object’s original silhouettes, but carries the serpents from the lip ring into the earrings, while folding in the Zapotec “Glyph C”, a symbol that is associated with Cocijo the Zapotec god of rain, a counterpart to Tlāloc.
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The shown pieces are crafted from laser cut & etched capiz shells, with small rice pearls that are finished with small capiz sequin etched with Glyph C.
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This set is part of the 5th expansion of “A Él Mismo” which centers around exploring, researching, & creating a dialogue with Tlāloc; navigating a pull I’ve felt from him for the past few years.
Still based in the foundation of AÉM, (a proposal of an alternative future where Spanish colonization of what is known as Latino America had not occurred. Instead, the body of work manifest the possibilities of what Pre-Hispanic cultures might have looked like had they thrived into the 21st century without the violence of erasure & extraction.)
the focus for this part is meeting & understanding my spiritual practice. How the time I put into my work is my act of veneration, how my body is the extension of the ancestors.
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Pic. No.1-2 - Detail shots.
Pic. No.3-5 - Pieces worn by me.
Pic. No.6-7 - Artifact shots.
Pic. No.8-9 - Line work & renditions of serpent imagery.
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A reoccurring struggle I’ve had as I continue developing AÉM, I feel, has been the integration of organic & natural materials alongside the linear & fabricated quality of the staples. With this expansion, I’ve realized I can reference the natural world through the idea of ritual wear from this world I’m presenting. I imagine the pieces made from the stapled textile is the primary code of dress, but the past is referenced & honored with works made from materials that historically has been used in offering and tribute.
Still working out this concept.
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More soon. by @ch_restrepo

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24 days ago

Shown here is a layered draped tunic in a navy wool+jersey blend, embellished with tiny spiral shells laid out in a grid, erupting from a large queen conch “clutch”, styled with some of the laser cut and etched capiz jewelry. Ear cuffs with the larger one depicting a serpent, and a lip “plug.”
This is the second piece created with this embellishment style for the 5th expansion of A Él Mismo.”
Driven & informed by the shells & shell-worked objects that were offered to Tlāloc found within deposits made to him at the site of Templo Mayor, I wanted to begin exploring & introducing what pre-contact devotional wear might have grown into, a visual display of the very materials and parts of nature that are attributed to respective gods.
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As a recap - the 5th expansion centers around exploring, researching, & creating a dialogue with Tlāloc; navigating a pull I’ve felt from him for the past few years.
Still based in heritage, family, & the foundation of AÉM, ( a proposal of an alternative future where Spanish colonization of what is known as Latino America had not occurred. Instead, the body of work manifest the possibilities of what Pre-Hispanic cultures might have looked like had they thrived into the 21st century without the violence of erasure & extraction. )
the focus for this part is meeting & understanding my spiritual practice. How the time I put into my work is my act of veneration, how my body is the extension of the ancestors.
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This piece will be one of 3 new Aspects that I’ve added onto project, expanding Pt.5 to introduce 8 new Aspects to the growing world of AÉM.
1 Aspect to be the representation of Tlāloc, 4 to be representations of the Tlaloques, who’s designs are being driven by offering that were found in Templo Mayor, & lastly the final 3 Aspects will represent followers of Tlāloc, who’s visual representations are driven by Tlāloc’s association to water.
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Pic. No.1- Tunic worn by me.
Pic. No.2-4 - Detail shots on dressform.
Pic. No.5-9 - Detail shots.
Pic. No.10 - Video.
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The final Aspect will be presented in similar styling with trousers & further developed capiz jewelry.
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More soon by @ch_restrepo

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a month ago

Returning from Oaxaca this summer, I had visited the MFAh in Houston & finally got to meet & experience one of the main artifacts that has informed “A Él Mismo’s” 5th expansion, a pair of hand carved mother of pearl “eyewear” in the shape of two serpents, a ceremonial object created in reference of Tlāloc, the old rain god.
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A recap, Part 5 of AÉM centers around exploring, researching, & creating a dialogue with Tlāloc; navigating a pull I’ve felt from him for the past few years.
Still based in heritage & family, & the foundation of AÉM, ( a proposal of an alternative future where Spanish colonization of what is known as Latino America had not occurred. Instead, the body of work manifest the possibilities of what Pre-Hispanic cultures might have looked like had they thrived into the 21st century without the violence of erasure & extraction.)
the focus for this part is meeting & understanding my spiritual practice. How the time I put into my work is my act of veneration, how my body is the extension of the ancestors.
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I brought the Nariguera I made in response to the artifact, my take fuses the eyepiece with the Nariguera framework I’ve used throughout AÉM’s development to create a piece that bridges elements from Colombia & Mexico.
I brought the Tlāloc Tunjo with the capiz mask, along with other laser cut capiz objects that were created in response to the artifact.
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The use of capiz also stems from the artifact, in sampling different materials when creating the Nariguera I used capiz as a possible material to construct the Nariguera, but found the matte finish of the capiz too flat in comparison to mother of pearl.
However I did enjoy the line quality of the laser in the capiz, so I integrated the material into the project through jewelry & embellishments.
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Pic. No.1 - Myself wearing the Nariguera in Mexico.
Pic. No.2-4 - Artifact pictures.
Pic. No.5-6 - Response piece with the original.
Pic. No.7-13 - Each response piece meeting the artifact.
Pic. No.14-16 - Each response piece laid out.
Pic. No.17-18 - Me & Tunjo Tlāloc being fans.
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More soon. by @ch_restrepo

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2 months ago

Shown here is a new double layered draped tank top that I’ve used as an opportunity to introduce & sample a new material / embellishment into A Él Mismo’s 5th expansion.
This piece is driven and informed by the many shells and shell worked objects that were offered to Tlāloc & found within many offering deposits made to him at the site of Templo Mayor as shells were associated with his connection to water.
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This next expansions centers around exploring, researching, & creating a dialogue with Tlāloc; navigating a pull I’ve felt from him for the past few years.
Still based in heritage & family, & the foundation of AÉM, ( a proposal of an alternative future where Spanish colonization of what is known as Latino America had not occurred. Instead, the body of work manifest the possibilities of what Pre-Hispanic cultures might have looked like had they thrived into the 21st century without the violence of erasure & extraction. )
the focus for this part is meeting & understanding my spiritual practice. How the time I put into my work is my act of veneration, how my body is the extension of the ancestors.
—-
The draped tank is hand embellished with tiny spiral shells placed along a 1in grid, I clustered areas to create more depth.
The heaviness of the shells complement & exaggerate the drape & folds naturally occurring in the double layered tank from its twisted seams.
It’s a simple process but I’m really happy with the outcome, this piece & a second shell embellished one that I’m working on, has me considering adding 3 more Aspects to Part 5 of AÉM, making this an 8 Aspect expansion, 1 for Tlāloc, 4 for the Tlaloques, and perhaps 3 to be representations of attendees of the cult of Tlāloc / personifications of offerings.
Still flushing that out, this piece could also just exist as a complementary object within the project’s 5th expansion.
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I styled the tank here with oversized white linen trousers to highlight the cream hues of the shells & with the Mother of Pearl Nariguera from the Aspect El del Mar.
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Pic. No.1 - Top half of embellished tank.
Pic. No. 2-4 - Tank worn by me.
Pic. No.5-8 - Detail shots of tank on dressform.
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More soon. by @ch_restrepo

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2 months ago

Excited to share a new Tunjo, a response piece to a Zapotec brasero I’ve been thinking about since my visit to el Museo de las Culturas de Oaxaca two summers ago during my mini sabbatical.
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Tunjos are small votive objects created by the Muisca, a Pre-Hispanic civilization from the Altiplano Cundiboyacense of Colombia. They were created for religious instances, often as offerings to their gods when in communication with them.
Tunjos were made of gold and/or tumbaga, the gold/silver/copper alloy that was widely used by many Pre-Hispanic societies.
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The Zapotec brasero, is a representation of a god that was found in the archaeological site of San José Mogote in Oaxaca’s Etla Valley, it predated Monte Albán.
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For my response piece, I converted the brasero into a mask that could be worn by the Tunjo, but to keep consistent the function of the artifact as a brasero, I echoed what I did with my Tlāloc Brasero Tunjos, and created the mask to double as an incense burner with an open top.
For the actual Tunjo, I kept his design simple, but carried through the motif of the head band and bow, along with some brass earrings set into his little ears.
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Due to timing I wasn’t able to make it to San José Mogote on this trip, but I still wanted to place the Tunjo within the environment as I believe these works, like the artifacts that inspire them are meant and should be experienced within their landscape to better understand them. The touch of the sun, the contrast of the environment against the metal, informs and gives breath to these living works. So here is the Tunjo at the archaeological site of Monte Albán, another Zapotec site that founded as San José Mogote declined.
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Pic. No. 1-5 - Tunjo at Monte Albán.
Pic. No. 6-8 - Tunjo with artifact.
Pic. No. 9-12 - Details of Tunjo and brasero mask.
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More soon. by @ch_restrepo

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2 months ago

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3 months ago

For my solo show A Él Mismo: Mis manos, Mi tierra, Mis antepasados that was shown at the @boscenterforarts Mill’s Gallery earlier this year, I created a codex inspired booklet to accompany the show, providing translations, definitions, quick historical blurbs & info on each Aspect that was exhibited.
I designed Tunjo versions of each exhibited Aspect for the codex & am so happy to finally share that I created and cast each Aspect Tunjo along with scale versions of the Aspect’s narigueras & earrings.
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This set provided such a fun opportunity to explore dimension & depth with my contemporary Tunjos in contrast to the flatness of the historical pieces.
I was also able to explore patinas when recreating the jewelry for El Yerbero Tunjo, & creating a small scale functional incense burner narigeria for El Regreso.
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I also wanted to fold in a cheeky fashion function outside of the Tunjos votive nature, I played around with the idea of being able to share jewelry with the Tunjos, so 4 of the Tunjos have removable earrings that can be worn by human, an attempt to explore and push further the interactions and relationships one could have with the piece.
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Pic. No.1 - Full Tunjo set
Pic. No.2 - Digital rendering of Tunjos.
Pic. No.3 + 4 - El Yerberito Tunjo + digital illustration.
Pic. No.5 + 6 - El Pensamientito Tunjo + digital illustration.
Pic. No.7 + 8 - El Plateadoito Tunjo + digital illustration.
Pic. No.9 + 10 - El Cobrecito Tunjo + digital illustration.
Pic. No.11 + 12 - El del Solecito Tunjo + digital illustration.
Pic. No.13 - 16 - El Regrecito, El Doradito, y El Jaguarcito Tunjos + digital illustrations.
Pic. No.17 - Tunjos with removable earrings.
Pic. No. 18 - 20 - Some of the Tunjito earrings worn as studs.
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More soon. by @ch_restrepo

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3 months ago

Excited to share a new piece for A Él Mismo’s 5th expansion.
Pt.5 will center around Tlāloc, as I explore, navigate, & create fueled by a pull I’ve felt from him for the past few years.
Still based in heritage & family, & the foundation of AÉM, the focus is on meeting & understanding my spiritual practice. How the time I put into my work is my act of veneration, how my body is the extension of the ancestors.
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Shown is a woven mother of pearl button top embellished with 40in navy fringe.
This new piece will be paired with the navy linen jacket previously posted, & are part of the design for one of the Aspects that will be a representation for one of the 4 Tlaloques, minor deities that act as assistants of Tlāloc, each responsible for one of Tlāloc’s 4 jars of that contain hail, snow, mist, and lighting.
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The point of inspiration for this piece comes from the Coraza de Tula, a Toltec “vest” made from Spondylus & Olivella shells that was found in Palacio Quemado in an adobe chest alongside other offerings of shells & coral. The artifact now lives in @mnantropologia & it’s been on my mind since I first experienced it two years ago during my sabbatical.
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At the beginning of conceptualizing AÉM’s 5th expansion I wanted to make reference to this work as I felt there were elements that fit seamlessly into the visual & material language I was developing for how I wanted to present the new Aspects, each informed by objects, materials, colors, & artifacts that referenced the marine based objects & offerings made to Tlāloc.
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I echoed the material body of the artifact through black mother of pearl buttons that I strung into individual rows, then wove them together with a navy cotton yarn to highlight the iridescent cool grey hues of the pearl. To exaggerate & highlight the pearl “fringe” bits, I wove 40in fringe to reference back to the fringe from the jacket this piece will be paired with.
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Pic. No. 1-3 - Pearl button top worn alone.
Pic. No. 4-5 - Top worn with fringe jacket.
Pic. No. 6 - Video of garments worn.
Pic. No. 7-10 - Detail shots of the piece.
Pic. No. 11-13 - Photos & object scan of artifact.
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More soon. by @ch_restrepo

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3 months ago