Central to the exhibition are a collection of woven ellipses titled Some Circles (NY), each numerically constructed as perfect circles, but warped and skewed through the weaving process. Variations in the material thickness of the thread produce anomalies when the digital form is embodied in cloth. While this phenomenon is referred to as an ‘aspect-ratio error’ within the technological realm, de la Paz embraces the erroneous output that results from this queering of geometric proportions. The exhibition also includes works from the artist’s Warped Grid series. Reconfiguring code to generate woven cloth, de la Paz captures the undulating physical effects of the software using a traditional structure known as waffle weave. The work invites the viewer into a dimensional field of aberrations and conflicting tensions, presenting variegated surfaces that blur lines between the taxonomies of textile, painting, and sculpture. The conceptual nature and material history of the resulting pieces reflect the personal politics, non-binary identity, and multicultural background of the artist.

The title of the exhibition, el lugar de los milagros / the place of miracles is a quotation from didactic signage at the necropolis of Mitla. Located in San Pablo Villa de Mitla, Oaxaca, Mexico, this archaeological site is ritually significant to the history of textiles. The walls of the pre-Colombian settlement depict traditional weave structures from the region, considered to be sacred pathways for the souls of the dead to traverse between the seen and unseen worlds. De la Paz likens the site to a massive computational device transmitting sacred data via circuitry of carved stone, aiding the spirit in its negotiation between worlds. Re-coding the mathematical pattern language of Mitla into digital weave structures, de la Paz confronts their own colonial displacement as an immigrant and cultural descendent of Spanish colonialism.