Mariane Ibrahim is pleased to announce the representation of Cristina Flores Pescorán (b. 1986, Lima, Peru). Working across two- and tri-dimensional forms, Flores Pescorán has developed a practice in which textile structures, ranging from intimate objects to monumental installations, unfold through space. Evoking the fragility of internal tissues and the intricate anatomy of the human body, her works give sculptural form to an experience of vulnerability, while affirming the body's extraordinary poetic force.
"Her practice brings together the ancestral knowledge and material traditions of Peru with her own personal history. We are thrilled to work with Cristina and support her works which draw on pre-Hispanic textile techniques and traditional practices of care." - Mariane Ibrahim
Native varieties of cotton, purple corn, soursop leaves, and copper thread become part of a distinctive material vocabulary, in which each element carries cultural, symbolic, and bodily associations. Copper, for instance, evokes both histories of extraction and the transmission of warmth and energy between bodies. Drawing on pre-Hispanic textile techniques and traditional practices of care, Flores Pescorán establishes a dialogue between inherited knowledge and contemporary experience, whether lived, imagined or dreamed.
Illness has profoundly shaped Flores Pescorán's life and artistic trajectory. Through her practice, she has transformed the often traumatic experience of medical treatment into a space of imagination, creativity, and agency. Rather than allowing the body to be defined solely through the clinical language of diagnosis and pathology, she reclaims it as a site of sensory knowledge, memory, and transformation. As curator Miguel A. López has observed in his writing on the artist, the repeated gesture of externalizing her organs and giving textile form to her affected skin is not merely an artistic exercise, but a way of continually renewing the poetic vitality of a body conscious of its own vulnerability. In this sense, healing emerges not as the triumph of an individual struggle against illness, but as an ongoing practice of care, reciprocity, and resistance to systemic neglect.
Cristina Flores Pescorán studied painting at the Pontificia Universidad Católica del Perú and completed the Post-Academy program at the Jan van Eyck Academie in Maastricht (2022–2023). Her work has been presented internationally, including in Does the Flower Hear the Bee?, the 15th Shanghai Biennale (2025), curated by Kitty Scott, Xue Tan, and Daisy Desrosiers; the 12th SITE SANTA FE International (2025), curated by Cecilia Alemani; Precarious Joys, the 3rd Toronto Biennial of Art (2024), curated by Dominique Fontaine and Miguel A. López; Ten Thousand Suns, the 24th Biennale of Sydney (2024), curated by Cosmin Costinaș and Inti Guerrero; and the Lahore Biennale (2024), curated by John Tain.
A major solo exhibition of Flores Pescorán's work, curated by Miguel A. López, will open at the Museo Universitario del Chopo in Mexico City in January 2027, followed by a solo presentation at Museum Rijswijk in March 2027.
Her work is held in numerous public and private collections, including FRAC Poitou-Charentes, France; Fundación Los Carbonell, Panama; Instituto Cultural Peruano Norteamericano (ICPNA), Peru; Institute for Studies on Latin American Art (ISLAA), USA; KADIST, France; Museo Nacional del Perú; Museo Nacional de Arte, La Paz, Bolivia; Museum de Fundatie, Zwolle, the Netherlands; and The Roux Collection, Panama.
