HomeWorkExhibitionsAboutContact  Instagram  Sofía Mac Gregor Oettler

Fotos: María Baños

Bombitos
2026







This series pushes the boundaries of traditional tapestry by challenging its inherent two-dimensionality and transforming it into a sculptural installation that floats in space. Sofía reclaims a medium often perceived as traditional, innocuous, and functional to foreground the right to leisure, play, and even absurdity—possibilities that are often restricted for women within the domestic sphere. In everyday life, women carry endless lists of caregiving and household tasks, leaving little room for activities that exist solely for enjoyment.

Weaving is commonly associated with objects of service or care: a tablecloth, a blanket, a scarf. In contrast, the Bombito pieces disrupt this expectation. They present weaving as a playful, experimental medium—capable of expanding into three dimensions and of creating new worlds. Each work in the installation required many hours of manual labor. By emphasizing the duration, the work makes labor visible and confronts the politics of time, prompting reflection on how women’s labor is measured, validated, or rendered invisible.

Fotos: María Baños

Nidos
2025-2026This installation investigates thread as an architectural unit through which the gender dynamics of care take a material form. Working with an ancestral vertical loom, Sofia manually weaves nest-like textile sculptures by transforming flat tapestries into suspended architectures. Through accumulation and repetition, fiber becomes a structure capable of sustaining.

Historically associated with domestic labor and care, weaving has long been dedicated to the production of service objects. In this installation, that logic is inverted. What if care flowed toward women rather than always away from them? The thread no longer produces objects for others; instead, it serves the opposite function. The nest becomes the symbol of a textile structure of refuge,
rest, and support.





Bombos
2025This series is a material exploration and an investigation of tapestry as a sculptural medium, challenging its inherent two-dimensionality. Working exclusively with warp and weft, without any additional materials, the work explores the textile's potential to expand into a third dimension. Form emerges solely from the manipulation of these two fundamental elements, demonstrating that transformation does not require additions, but rather a reconfiguration of what is already there.

This intervention gives rise to sculptural, bulging forms: on one side, convex volumes project outward; on the reverse, the warp structure is left exposed, revealing a hollow space that mirrors the raised forms. This questioning of dimensionality transcends the material to propose a broader reflection: just as the fibers of a textile can be reconfigured into unexpected structures, social structures, even the most deeply entrenched ones, can also be transformed into forms that once seemed unthinkable.


Gubishi for
Visión y Tradición
Design  Week Mexico
(Collaboration with Josefina Ruiz)
2025This piece was co-created with Josefina Ruiz of the La'xha Textil collective in Teotitlán del Valle, Oaxaca, during the Visión y Tradición residency organized by Design Week Mexico. Exhibited at the National Museum of Anthropology, it is a reinterpretation of the Aztec Sun Stone. Like the monolith, the work embodies the passage of time — dyed with plants from the Oaxacan valley that bloom across different seasons: añil, pericón, mahrush, granada, and cempasúchil. 

Fotos: Isabel De Lara

Three Color Trilogy
2025The loom appears, at first glance, as a two-dimensional medium: flat, structured, and ordered. Yet beneath that surface lies an immense potential for transformation. Small, deliberate weaving gestures begin to disrupt that order until they accumulate into something undeniable. What was once flat acquires depth; what seemed fixed becomes volume. Change does not arrive all at once, but thread by thread, until the transformation can no longer be ignored.

The same logic resonates throughout the social fabric. Feminism is not built solely through grand ruptures or sweeping movements, but through small, sustained actions, often imperceptible in the moment, that layer upon one another over time. Each gesture, each decision, each voice that joins the weave gradually reshapes a structure that once seemed immovable. This trilogy suggests that the most profound transformations are often the ones that begin invisibly: subtle shifts that accumulate, quietly and persistently, until they have altered everything.