Alejandra Carrillo-Estrada is an alumna of the School of Art and Design.
EL PASO, Texas – The MakerBot on my desk is making sounds like waves on a beach. Back and forth, back and forth, it gradually builds up my design in layers. My work focuses on the cosmogony and mythology of Zapotecan motifs. I am especially captivated by the fretwork designs of the archaeological site of Mitla, Oaxaca in Mexico.
A series of 3D-printed motifs.
I first explored these designs through photo documentation, then 3D modeling. I use the printed models to cast the designs in silver, thus interpreting the historical icons through modern fabrication techniques.
The artist is exploring printing with plant-based materials.
Photo by Carlos Gutierrez
I originally used resin filaments. But now I’m thinking about my ecological footprint.
“I need to do better,” I tell myself. “I need to make art more consciously.”
The machine finds a stopping point, adjusting itself to begin a new line of material. I can see light fumes dissipating in the air.
“I am especially captivated by the fretwork designs of the archaeological site of Mitla, Oaxaca,” the author writes.
The material I’m using is more eco-friendly than traditional 3D printing filaments. Instead of a plastic resin, it’s made out of a blend of recycled wood particles and plant-based polymers.
Carrillo-Estrada began her explorations using plastic resins, which she cast in silver.
My goal is to make jewelry and art more sustainable. This is directly linked to the motifs that I use. Some of these fretwork designs represent water, clouds, butterflies and the overall cycle of life. My pre-Hispanic ancestors valued the preciousness of nature, and I can honor that through this research.
Carrillo-Estrada now prints with a blend of recycled wood particles and plant-based polymers.
I’m happy with this new material. The wood filament is soft and malleable. The possibilities of integrating these designs with metal – and perhaps fabric – are endless.
The MakerBot suddenly stops. I quickly reach out to turn off the power. Then, it strikes me: The threads look like a tangled, beautiful mess. I contemplate the happy mistake that will inform my next steps of research and fabrication.
Editor’s notes:
Alejandra Carrillo-Estrada is a native of the Ciudad Juárez and El Paso U.S.-Mexico border region. In 2018, she received her MFA from the University of Illinois at Urbana-Champaign. She explores themes related to identity, border culture and social justice. You can follow her work here. Her Instagram handle is @ale_akiceri.
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