Margarita Cabrera, Maquila Factory: from right to left “Secadora / Purple Blow Dryer”, 2005, vinyl, thread, appliance parts; “Olla express / Slow Cooker”, 2003, vinyl, thread, metal, electric wiring, and ceramic plate; “Espresso Machine”, 2004, leather, wood, thread; “Procesor de comida / Food Processor”, 2003, vinyl, thread, metal, and electric wiring
Cabrera’s sculptures are simultaneously the successors of and the antitheses to Pop Art of the mid-1960s, especially Claes Oldenburg’s vinyl renditions of domestic machines. . . . Cabrera, on the other hand, highlights that identity by emphasizing the handmade quality of her ‘replica.’ She selects thread in a color that contrasts with that of the fabric, and deliberately leaves the ends of the threads hanging, as if forgotten. Thus Cabrera draws attention to the stitching and , by extension, to the too often disregarded importance of craftsmanship and design, both in the manufactured and the handmade. . . Warhol immortalized brand name products and well-known people by reproducing and repeating their image. Cabrera’s icons are, instead, ubiquitous machines created by anonymous people. Warhol sanctioned stardom. Cabrera acknowledges unknown laborers. Warhol commented on how the temporary fame of a few products and people define our popular culture and public character. Cabrera observes that an underpaid and unacknowledged work-force creates that characterize our domestic space and, by extension our private lives.
Margarita Cabrera, ” Maquila Factory: Utiles de limpieza / Cleaning supplies”, 2003, vinyl and thread