Carlos Garaicoa’s work speaks of the past and present through memory, decay, desire, architecture, utopia and the relationship between reality and fiction. The city as a representation of individual and collective memory has been a recurring subject in his work.
Garaicoa’s collaborations with Factum Arte have favored the development of projects technically linked to his conceptual interests, such as blind-embossing on paper (as seen in the subversive relief messages of Frases) or his architectural additions to images of buildings and landscapes: Para transformar la palabra política en hechos, finalmente II or his Reversal dyptichs. Other collaborations in polystyrene, bone and ceramics have emerged over the years.
In September 2010 a solo exhibition in Matadero Madrid featured tapestries made from high-resolution photographs taken on the streets of Havana, Cuba, and woven on a computer operated Jacquard loom in Belgium. His tapestries have been part of numerous exhibitions including Penelope’s Labour: Weaving Words and Images (Fondazione Giorgio Cini, 2011).