'When we visited the ruins of Pompeii and the Museum of Archaeology in Naples, Italy, we were fascinated by the mosaics: their technique, the colours, the materials, and the representations in them. On our return to Buenos Aires, we came with a desire to make mosaics. We weren’t interested in using ceramics or tiles in our work, but thinking about the possibility of transforming these mosaics into something soft and light, the possibility of continuing to expand the configurations of textiles and painting.

We began to reuse and dye fabrics which we then cut into small, gummed, square tiles that were glued with heat onto large reused and dyed sheets that belonged to us. We baptised this technique as ‘textile mosaic’, and it arises from the research and the intention of trying to expand the limits of the very configuration of textile art. It’s one more attitude of how we, visual artists trained in painting, transfer our knowledge in the usage of colour into the textile language, just as we do with embroidery.

As for the image, we are self-portrayed in contemporary clothing and presented on two medallions, as Pompeiians did in the paintings they made on pieces of wood that were later placed on funeral urns or on the mosaics that covered the walls of their houses.

The other two medallions have deconstructed representations of fragments of textiles made by Florence Henri and Ida Kerkovius, both women artists of modernity that are part of our artistic family tree. We are a pair of artists that make up a single artist: Chiachio & Giannone, or as María Moreno says: "monozygotic creative twins". We have shaped our DNA with our own individual genetic chromosomic load in addition to our gaze directed at other artists we admire that influenced or helped us shape the unique artistic view of this unique artist'.

Chiachio & Giannone, 2020.