PORTFOLIO 2025

PORTFOLIO 2025

MAITE SOSA METHOL P r o v i d e n c e , R I | 4 0 1 74 9 3 6 8 8 | m . s o s a m e t h o l @ g m a i l . c o m I’m a textile designer and interdisciplinary artist currently pursuing my MFA in Textiles at the Rhode Island School of Design (RISD), specializing in knitting and the intersection of textiles and technology. As a Fulbright scholar from Uruguay, I bring a unique perspective to my work.

My creative journey has meandered through various landscapes and languages—apparel, textiles, costumes, and digital and electronic art—a serendipitous path guided by both intuition and desire. Along the way, I’ve explored light as a material that can be embroidered, knitted, sewn, and pleated to dress us. Drawing inspiration from my home country, I strive to capture and recreate sparkling moments of extreme joy and wonder.

My work reflects a passion for blending textile techniques and materialities, vibrant saturated colors, three-dimensional structures, and digital technologies. It investigates how fabrics can move, transform the body, and tell stories—pushing the boundaries of textile design and material expression.

APPAREL

Knitted dress inspired by my home, Uruguay, and my connection to water. In English, sea means ocean; in Spanish, sea is a form of the verb ser, meaning to be. This intersection of meanings guided my project.

I’m drawn to water’s fluidity, motion, and reflective surfaces. Noctilucas—bioluminescent organisms found along Uruguay’s coast—evoke mystery and play. I explore contrasts: light and dark, stillness and movement, alongside themes of magic and the sacred. These ideas influence my textile work and color choices: fuchsias, blues, purples, and iridescent tones.

Knitted entirely by me on a Silver Reed 280 single-bed machine, the piece combines merino wool and Lurex to create a surface that captures both motion and glow.

Sea (2024) Knitted dress

Photo: Ignea Rivero Model: Romina Di Bartolomeo Makeup: Gaia Assistants: Guzmán Bergereau and Cecilia Mieres

Inspired by the concept of "re-designing gender," this collection prioritizes comfort, movement, and vibrant hues for men, women, and gender non-conforming individuals.

Through an eclectic mix of silk satin, organza, cotton jersey, and rib cuff fabric, the collection challenges traditional associations between sportswear and formalwear, as well as gender stereotypes. This fusion of materials redefines expectations—for example, questioning the idea that lightweight, drapey fabrics are inherently elegant or feminine, and that stretch, high-performance knits belong solely to sportswear. The result is a series of garments that are both functional and refined, enhancing movement and dynamism for every body.

Persona (2016)

Ready-to-Wear Collection

Photo: Ruso Tomosky Models: Melina Barrios and Joaquina Rijo

T E X T I L E E X P LO R AT I O N KNITTING

Knitted samples developed as an in-depth exploration of machine knitting possibilities—from structure, surface, and visual effects, to scale, materiality, color, and technique.

Created on a single-bed Silver Reed knitting machine, the collection includes punch card jacquard, partial knitting, pointelle, slipped stitches, tucked stitches, and a variety of embellishment and finishing techniques such as crystallization and embroidery with pearls and beads.

The work is inspired by and infused with a sense of playfulness, contrast, and whimsy.

Explorations in machine knitting (2024)

A collection of experimental knitted swatches created to explore the possibilities of the STOLL CMS 530 7.2 industrial knitting machine. Techniques include twill and net jacquard, plating, purl and knit structures, pointelle, tucked stitches, and floats.

Inspired by Iemanjá, the Afro-Brazilian sea goddess associated with water and protection, and the ocean, the collection draws on themes of fluidity and transformation through stitch and form.

Explorations in STOLL knitting machine (2025)

T E X T I L E E X P LO R AT I O N SURFACE

DIGITAL PRINTING

Inspired by a trip to Ecuador and a fascination with tropical flowers, this project began as a digital artwork created by merging two photographs taken at a botanical garden in Quito. Captivated by the resulting color palette, I developed a repeating pattern that was printed on synthetic satin using textile sublimation.

The designs were created using both Photoshop and Illustrator.

Pixels and Fibers (2020) Digital art and pattern design

DIGITAL PRINTING

“Luz de agua” (translated as Water Light) is a collection of patterns designed to explore the possibilities of digital printing, rooted in the magical realism of Latin America and inspired by Uruguay’s natural resources. It draws from irradescense of the ocean, marine life, constellations, and the movement of the sea. Each design captures glimmers—fragments of the extraordinary hidden within the ordinary. These liquid-like patterns glow with color, transparency, and light, crafted to awaken sensory wonder.

Created using Photoshop and NedGraphics, the designs were printed on Hanotai silk and organza using a Mimaki Tx300P-1800 Reactive Dye Printer.

Luz de agua (2024)

Pattern design collection

P L E AT I N G

This series explores pleating as both a structural and expressive technique in textiles. The right pieces stems from origami-inspired material experimentation, where organza is manipulated through handcrafted thermal pleating to create volume and form. The left piece expands on this approach by incorporating plastisol ink and silkscreen printing. By layering these techniques, the work investigates how texture, light, and opacity interact within pleated surfaces.

Ongoing experimentation continues to focus on enhancing movement and dimensionality. I’m especially interested in how pleating can activate textiles—transforming flat materials into dynamic, sculptural forms that respond to the body and space.

Pleating Studies (2021)

T E X T I L E E X P LO R AT I O N EMBROIDERY

DIGITAL EMBROIDERY

"May Our Tears Become Mariposas" (translated as May Our Tears Become Butterflies) is a short animation composed entirely of digitally embroidered frames. The piece reflects on themes of heartbreak and the ways pain can manifest within the body. It also explores vulnerability and anxiety—their weight, omnipresence, and unpredictability.

May our tears become mariposas (2025)

I designed and produced 12 digital embroidery pieces on cotton canvas, each framed in an 8-inch hoop, using both the Tajima 15-needle and Juki Tajima Sai 8-needle embroidery machines. Post-production included hand-embellishing each piece with glass beads and sequins.

Digital and hand embroidery Video: https://youtu.be/vgfR88o99PY

EMBROIDERY

"Identity Quest" is a series that explores themes of representation, self-discovery, and the construction of identity. It delves into lived experiences, fears, obsessions, and desires—multiple layers and superimpositions of fragments that create meaning and shape one’s personal history.

The Left Piece (10 x 10 in) is created with black lurex thread and transparent organza, using embroidery as the technique, while the Right Piece (8.3 x 11.7 in) is made with Chinese ink on tracing paper.

Identity Quest (2019)

Hand embroidery and drawing

T E X T I L E E X P LO R AT I O N N E W M AT E R I A L I T I E S : 3 D P R I N T I N G

Textiles 3D is an experimental research project focused on the development of new materials. It encompasses both aesthetic and functional exploration, pushing the boundaries between the digital and material realms.

A collection of twenty 3D-printed textile swatches was developed, designed using CAD software and printed with Fused Deposition Modeling (FDM) printers. The collection showcases designs ranging from articulated to chain-like and mesh structures. This project was exhibited as part of a solo exhibition at the Faculty of Architecture, Design, and Urbanism in Montevideo, Uruguay, in 2022.

TEXTILES 3D (2022-2023) 3D Printing

Video: https://youtu.be/zUmR43vjpHM?si=JvFdy0DrznwbSVgc

COSTUMES & PERFORMANCE

Movimiento is a hybrid piece—part garment, part interactive costume, and part performance. In exploring ways to enhance and visualize human body motion, I used light as a poetic medium to make movement visible, resembling drawn traces.

The costume integrates an electrical circuit with a motion sensor, LED lights, and embroidered optical fiber. Using a camera, projector, and specialized visual design software, the dancer becomes a canvas, with light traces projected onto them, creating a dynamic feedback loop.

Movimiento: An interactive costume for DPSOLƊHG HPERGLHG SHUIRUPDQFH

Interactive Costume

Video: https://youtu.be/Xh0YXBoMfDA Dancer: Daniela Olivera

“Profundidad” (translated as Depth) is a 3D-printed accessory crafted specifically for Uruguayan artist PHORO's concert—a unique fusion of electronic sounds, visuals, and scenic elements.

Made using transparent PLA filament, TPU filament, neon light wire, and a 5V battery, it was created through FDM 3D printing and embedded electronic circuits, with design work done using Blender and Rhinoceros software, and slicing through Creality Slicer.

The accessory evokes themes of depth, introspection, and fragility. Inspired by bioluminescence and the animal world, its subtle neon light creates a vivid contrast against the surrounding darkness.

Profundidad (2023)

3D printed accessory

RETOPOLOGIA INVERSA (2022-2023)

This 3D-printed costume was custom-designed for Uruguayan performer Lucia Mato, drawing inspiration from insect spikes and hairs. The research originated from a desire to merge traditional textile materials with digital tools. The piece distorts the human silhouette, enabling certain movements while restricting others, while also concealing the wearer's face and identity.

Three-dimensional cones were printed directly onto microtulle, conceptualizing the costume as a second skin—one that challenges conventional clothing norms, evokes sensations of prickling and discomfort, and embodies transformation.

Retopología inversa (2022) 3D printed costume design

Video: https://youtu.be/JpfNakCBk-E?si=ZMoouHN93GqMKRRf Performer: Lucia Mato