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I reflect on time' juxtaposing with nature, mirroring our evolving, aging, and transient existence within the natural world.


Time… time… it’s always with us, around us, within us, as the always present spectator of change, fluctuation and modification on everything, incessantly, until decay. Furthermore, even during decay, time is still present, and will remain as such, forever.  

In a world where climate change and technology dictate our conduct, we, naively, take photos, trying to capture not only a precise image but that specific moment in time. However, we do not realize that even throughout this act, time keeps lingering. In our hands, we hold on to that photo, a memento, where we catch, seize, that particular place, that specific object that held our eyes hostage for a moment, while time kept on pulsing with rhythm around us.

My work is about an object in time that transitions on its own tempo and cadence until it transforms and loses its force and shape causing as result the imminent stage of decay. That photography, of an incidental, yet particular object which captured my gaze, is just the beginning of my working process. Even when some believe that photography is an antagonist of my main medium of creation which is tapestry, for me, my creative process begins when a photography breathes and gives life to my weaving.  

This relationship is the transformation of a photography, a meaningful timeless image with its own light and colour, its own story, its detail, shadows, and contrasts, into a different medium; 
witnessing how it changes and evolves -while my hands start to reach for the strands of yarn, and my eyes go through every single colour in the photography so that I can emulate them, transform them- until it becomes a unique and marvelous piece of art which will keep the secrets of its creation to itself forever.

While all this happens, in my head, in my hands, in my eyes, time is my witness: I start to feel how a bidimensional and flat image begins to take a life of its own while showing me the different paths to follow in an effort and as a means to create and give life to my final piece, the tapestry.


Ixchel Suarez has been a textile and fibre artist for almost 40 years. Her practice explores material and concept, particularly in Tapestry, in non-conventional ways. Her integration of Abstract Expressionism with Tapestry has been Internationally recognized on numerous occasions. Her most recent recognition was the 2021 Award of Excellence, From Lausanne to Beijing, Fibre Art Biennale.

Ixchel holds a Master’s Degree in Museum Studies (Iberoamericana University, Mexico City), a BA in Graphic Design & Art History (Anahuac University, MC), and Post-Graduate Studies in Contemporary Textiles in Łódź, Poland. (Top International Textile School). She is the Founder and Director of Textil Creativo, Oakville Arts Studio and the not-for-profit Canadian Tapestry and Texture Centre, whose mission is to practice the integration of tradition, culture, and self-expression, through textile and interdisciplinary creative arts in order to empower individuals and promote a stronger, healthier, creative community.

​She has collaborated and written in specialized publications for international Textile and Design magazines as well as online resources, and has been featured in many related publications. She is a Member of the Canadian Tapestry Network, American Tapestry Alliance, World Textile Art, Handweavers Guild of America, British Tapestry Group, as well as the former  President of the Oakville Handweavers and Spinners Guild.  Ixchel has been a recipient of Visual Arts Grants from the Canada Council for the Arts,  Ontario Arts Council, Oakville Arts Council, Trillium Foundation, among others.  She has presented many solo and group shows, and her work is shown in private and public collections in Europe, Central, and North America.

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