Un tiempo para reír y llorar marks one of my earliest explorations of bringing painting and fiber into the same visual language. At the time, I became interested in preserving garments that held personal significance by incorporating them directly into the work. Rather than treating fabric as an embellishment, I wanted it to retain its own material history. Its folds, texture, and traces of everyday use entered the composition as quiet carriers of memory, expanding the surface beyond paint alone.

During this period, I was also immersed in a process of repetitive mark-making influenced by pointillism. Building the painted surface through thousands of small gestures became both an obsessive and restorative act. The accumulation of marks slowed time, transforming the process into a form of sustained attention in which making and reflection became inseparable.

Looking back, I recognize this work as a pivotal moment in my practice. It established a dialogue between painting and textile that continues to inform my work today, revealing the expressive and conceptual possibilities that emerge when material, memory, and process enter into dialogue.