In the same way that many animals need molting to change their skin, the butterfly requires the chrysalis stage for metamorphosis to take place, the process of transformation from larva to butterfly. Carlos Herraiz does something similar with the hundreds of fabrics he has found and collected over the years.

Through his time in different cities, Herraiz begins to build an archive of textiles from diverse origins. Bedsheets, tablecloths, old paintings, fabrics altered through processes of mold, buried materials, scraps and remnants of clothing returned by the tide, sun-bleached textiles, inherited garments, all form a textile collection in which they act as mementos, or self-referential elements of each of the experiences tied to the places where they were found.

The neighborhood, the streets, the ground have been his spaces for play, exploration, and encounter, only to later, in the studio, cover, care for, protect, elevate, and re-signify the found remains. In Muda, the fabric ceases to be rigid and taut. Herraiz approaches the material through its fragility and vulnerability, exploring different installation devices for presenting the textiles in space, new exhibition formats, and new modes of interaction with the viewer in order to create a more participatory and sensory experience.

To create this body of work presented for the first time in Muda, Herraiz reconnects with processes such as sewing, embroidering, hanging, joining, braiding, and linking, using them at the same time as a metaphorical bridge to weave together the personal and the collective, bringing together these hundreds of fragments in order to then cover and protect them, thus keeping them in this intermediate space of molting and chrysalis.