The present work, part of reseach line “Theories and Epistemic Interfaces in Arts”, discusses
the relationships between creativity and the embroiderer at the same time, in domestic and
family life. Studying a technique that, lived at the border of the academic grade for so long, and
has multiple functions and multiple practices, requires a calm and patient analysis. As a line of
research that encourages the approach of knowledge, this master’s thesis refers to other
scientific contexts such as social sciences, psychoanalysis, history, memory and design. The
relationship of studies in the historiography of art and of embroidery, women, memory and
identity, the study tries to understand the compIex composition of the contemporary
embroiderers through interviews, building dialogues about the invisibility of being a woman in
the art worlds and the questions that surrounds their creative processes. By analyzing feminist
insertions in contemporary art, it is revealed embroidery as a practice fulfilled with symbology.
The thesis is divided into Back and Front, highlighting the intrinsic duality that makes up the
practice and its delicate and subversive nature. It is also a purpose of the work to think and
create new borders, materialized in an artist's book and an album of embroidered photos, "The
Album of the Yarns" and "The Invisible Album", experiments that arise from the scientific
writing, to weave new spaces of memories and existence /resistance.. To recover the history of
the feminine art it is required a long and extensive, however this research is only partial, within
a limited space, time and pont of view.
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