1 0 When I started doing this, I liked the atmospheres that began to appear. I imagined groups of tapestries in the same way that I had grouped small units to create each finished work. Putting these surfaces together I captured the mood one feels on entering the spaces of colonial churches and the burial chambers of pre-columbian cultures. I would like to mention that many of my early large-scale weavings had an architectural and sculptural intention . They were massive constructions woven with heavy fibers such as horsehair and coarse wool. They were either free-standing, three-dimensional volumes or structures that physically de- fined spaces . The Alquimias and most of my recent work are more con- cerned with how surfaces, textures and finishes transform the space they contain or occupy . This series, the first to be done entirely with gold-leaf, was a clear solution to many chal- lenges, and it represented a big step towards many new ideas. Additionally, the Alquimias allowed me to gain a great deal of skill in creating basic materials. Reinventing surfaces with these strips, strands and cords became natural. These new units of material were special tools, tools endowed with spirit, that lay heaped, coiled, or stacked by my side. They were also the rawmaterial I needed tomake objects out of my own thoughts. They were ideas locked on the warp of experience—something similar to the Kogui Indian´s concept of spinning as an individ- ual act in the face of weaving as the insertion of the individual into the fabric of society . These experiences were producing heavy surfaces. Tapestry, fibers, strands, units, cords, all are transparent layers with their ownmeanings, revealing each other tomake one presence, one tone that talks about the texture of time. The titles of these surfaces help evoke the basic ideas that brought them forth. 19. Moonbasket 44, 1987. 18. Moonbasket 55, 1983. 17. Moonbasket 55, 1983; detail.