Marita Setas Ferro is a Portuguese creative in several areas: art, crafts, fashion, sustainability and cultural manager. She likes to combine them in new and impactful approaches. She has been working as culture manager and creative director for some years in projects, exhibitions and now is also developing exhibitions and curating dedicated to Fine Craft and Sustainable Design. She has been developing her textiles sculptures using traditional needle techniques, crochet and knitting, in an artistic representation of marine natural elements. The way is techniques are applied results in an initial surprise in which there is a confrontation between the tradition present in the techniques and the innovation of form, aesthetics, textures and colour and in this clash, the pieces build a dialogue with those who see, touch and feel them.
Marita is focused on the Fine Craft and heritage with a desire to combine crafts with design and art, she has always developed unique and distinct projects that combine different aspects in which the artistic perspective, the connection to crafts and the need to positivity impactfully people’s life has always been a constant. Enjoy imparting knowledge and creating projects that can impact people's lives, both artistically and in terms of culture, design and fine craft.
In a way, my artisanal experimental past was crucial in shaping my artistic voice. From the age of 10, I was immersed in ceramics at my mother's atelier, learning the importance of touch and the physicality of materials early on. This tactile experience evolved as I explored the behaviour of textiles, garment construction, and the creation of costumes and sets for theatre and ballet.
Later, I expanded into working with more rigid, perennial materials like stone, wood, and metal, each adding to my understanding of how materials can communicate. What truly transformed my practice was the realisation of the freedom that threads worked with needles could offer in sculptural creation. This method not only allowed for the expression of form but also for the engagement of the viewer in a unique way. The softness and flexibility of these works invite touch, creating a sensory dialogue between the art piece and its audience.
I believe that physically connecting with a sculpture, feeling its textures and subtle irregularities, adds a deeper layer of understanding that sight alone cannot achieve. My years in fashion gave me a heightened sensitivity to the combination of materials, colours, and textures, all of which have been invaluable in the development of my soft sculptures. But above all, the act of touching is integral to my work. It completes the experience, inviting a more personal connection between the viewer and the piece, offering a tactile intimacy that allows the art to be fully felt, not just seen.
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