In 2019 we went back to Kyrgyzstan with new drawings. The felt-makers built them in ala-kiyiz — loose wool laid by colour on the table, then wetted, rolled and pressed until it binds into a single cloth.
For Saint Clair Cemin, a figure in blue, yellow and black taken from his painting on paper. For José Bedia, his drawings — Semana Santa, En el tronco de un árbol — in black wool, every line finished by hand. For Fabian Burgos, his bands of colour, each stripe felted in a gradient and pieced into the whole. For Vargas-Suárez Universal, the clouded blue of the work that later hung in New York.
Back in Miami, Burgos laid the finished felt beside his prints to compare them, and José Bedia received his pieces in his studio. In 2020 Bedia’s felts were exhibited, Semana Santa among them.
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