What did you learn (or unlearn) while working on it?
I believe there is a very strong connection between textiles and architecture. Personally, I’ve always rejected architecture-perhaps because I was so deeply immersed in it within my family. I also witnessed my parents face a lot of hardship and lose everything. It was very difficult to see them so passionate about something they couldn’t make a living from.

When I began working on this exhibition with Marie Perennès, it was the first thing I spoke to her about. I needed to return to volumes, to space, to light-and maybe, in a way, to architecture. Being able to talk about it with Marie was incredibly meaningful; she immediately understood the depth of my work and the intention to think about textiles in a way that goes beyond painting or tapestry. At the end of the exhibition, I was able to speak with my mother about this connection between textiles and architecture-about colors, materials, and light. That conversation was very important to me. Today, I think what matters most to me is exploring how textiles exist in space, and how people interact with them.

What words, ideas or emotions were running through your head?
A mix, I can’t define this in one word.

Was there any conversation, film, music or book that found its way into this work?
One evening, I went to the Théâtre de la Colline in Paris-an engaged theater directed by Wajdi Mouawad, whom I deeply admire. The play was a powerful experience for me: performed entirely in Arabic with French subtitles, it celebrated migration, dual identity, and the act of writing. The next day, I came across a book in a bookstore-a publication of the lectures Mouawad gave this year at the Collège de France. The title is L’Ombre en soi qui Ècrit (“The Shadow Within That Writes”). It’s an intimate reflection on writing, exile, family, and the author’s relationship to creation and origins. I spoke with Marie about his texts, and I suggested the title La sombra que teje en mí (“The Shadow That Weaves in Me”) as a response to Mouawad’s lectures. For me, it was an obvious choice-the textile here becomes a form of writing, a kind of sacrifice, something through which one must always leave a part of oneself behind.

What was the most difficult thing you faced this month in your creative process?
I worked on the entire exhibition in a small space, about 20 square meters, with my loom set up in the middle of the studio. It was a real challenge to create all these pieces, especially since some of them are quite large. I think the largest work in the exhibition was almost the length of my studio’s diagonal.

If you could have dinner at any restaurant in the city tonight, where would it be and what would you order?
It would be at mo+f.

If your life were a movie this month, what would its title be and who would make the soundtrack?
Movie: Valeur sentimentale by Joachim Trier
Soundtrack actually from this film: The Night, Frankie Valli & The Four Seasons

Recommend us an artist you follow, someone who inspires you, and tell us what you like most about their work or their way of working.
I recently discovered the work of Nifemi Marcus-Bello through a curator friend. I find his practice truly fascinating-not only in terms of material research, but also for its strong social dimension. His approach, rooted in local contexts yet deeply contemporary, offers new perspectives on how objects are conceived, used, and produced.

Photos courtesy of Galería Mascota.

Marie Hazard

Paris-based weaver and artist whose work bridges traditional craftsmanship with industrial textile techniques.

www.instagram.com/mariehazard

La entrada La sombra que teje en mí se publicó primero en ERRR MAGAZINE.