Posted September 16, 2018 12:15:51A few months ago, I received an email from the Peruvian government asking if I wanted to go to the country to interview one of the most accomplished textile artists of our time. 

The artist was Miguel Ruiz-Gonzalez, who is best known for his work in the Perú textile industry, but also for the work he’s done for the global textile industry as well.

Ruiz’s first solo exhibition in 2014,  Peru Textiles  and the subsequent 2015 exhibition at the Museum of Modern Art in New York, brought him to the attention of the Peruvians, who recognized the value of his work. 

Ruiz’s work is all about the textile, from his vibrant colors and his striking embroidery to the simple, yet important, construction of the fabric.

He also explores the meaning of the word “textile,” which has long been associated with the work of the artists that first began the textile revolution. 

One of the reasons that Ruiz is so well known in Peru is because of his collaboration with the Peru textile industry. 

In 2007, Ruiz and his team worked with local textile mills and were able to create fabrics that were a hundred times more durable than those used by other companies in the country.

Ruoz’s team also developed a new technique that allows him to create new, more durable fabrics with an increased strength and rigidity. 

When I asked Ruiz if he had any particular favorite fabric from his work, he responded with a quote from the film  Perfume  by Quentin Tarantino: “All my work is a product of a moment, a moment in time.

This is not my work, but it is my work.

It’s my life.

This fabric, it’s my fabric.”

The Peruvian cotton industry is the biggest in the world and a key part of Peruvian society.

The industry produces more than 10 million pieces of cotton each year, which is nearly two-thirds of the country’s total exports. 

Although Peruvian women have been involved in the textile industry since the 1600s, it was only in the 1970s that the Perubians started to produce more fabrics, including cotton, polyester, silk, and wool. 

By the time I arrived in Lima, Peru, Ruys work had grown from just two people working with textile mills to an impressive production team of seven. 

To my surprise, Ruiaz showed me his own collection of textile frames that he had designed. 

These frames were created using a technique called “molding,” which involves making individual shapes that fit together to create a finished product. 

After we finished our interview, Ruoz showed me a few frames that I could buy, but I decided to try to make them myself. 

The fabrics are hand-stitched and were made from recycled fabric, which Ruiz said he often uses to make a living. 

We also talked about the importance of textile education in Peru.

He explained that the textile education system in the rural communities of the region is not as well developed as in urban areas, so many students are unable to acquire basic knowledge about the craft. 

I had to explain to Ruiz that the work I did for the Perumó is not a piece of art, it is a life-long commitment that has given me the confidence to pursue my career in the industry.

I also felt that I had to be a better person in order to do this work in Peru, because Ruiz himself has struggled with depression and anxiety. 

For more information on Ruiz, check out his website at