Or, why is it that we feel that embroidery is the best method for documenting reality?
Using real-time documentary embroidery (with no sketches or previous planning) is a challenge in the field of drawing, regarding the representation of reality. The restrictions imposed by the technique: the slowness of constructing a line, one stitch at a time, forces us to economize and abstract, limiting our choices, making us consider and select the most important thing to represent.
By this we are forced to follow a process of encrypting, creating symbolic graphics where details and decorations are considered excess. We find ourselves summarizing and combining elements for maximum capacity of transmitting information. At the same time, the slowness of the proceedings, is considered an advantage, being that it gives us the opportunity to spend some time together on the street, where the events, which are the object of our interest, take place. We get together to embroider, forming a group in which we exchange opinions and impressions. Our activity attracts the attention of passers-by. Intrigued by our work they approach. We let them intervene, adding their suggestions and point of view. In this way, we create a base where we integrate in our environment, giving us a heightened capacity for observation, for perceiving social dynamics and for learning.
Being that we are a group of 'strangers' engaged in an uncommon activity in public space, puts us under the scrutiny of the public, creating a new balance between 'subject' and 'documenter', a bi-directionality where the observer is also observed. As part of this new balance the 'documenter' becomes 'subject', having to respond to questions and events that come up in the social environment.
As a result of spending more time in public space, real-time documentary embroidery promotes a consequential attitude and a more in-depth knowledge of the social reality being documented.