Jane Papalote | An interview with Yessenia Garnica
- Taylor Selsback
- Jun 26
- 4 min read
During the week of June 15th, 2025, artist Yessenia Garnica Cortes exhibited her project Jane Papalote, a large format tapestry book that tells the story of a young migrant girl through the imagination of a child on the move and the artistry of thread and embroidery. The story is based on the original book entitled "Tony Papalote" by author Magdalena Clara Torielli.
The artist, Yessenia Garnica Cortes is originally from La Reforma Yautepec. Since 2019, she has actively participated in the studio-gallery “La Casa del Diablo”, located in Oaxaca City. In 2021, Yessenia developed the ‘Nihilita’ project, developing artworks, creating a language in embroidery through visual metaphors that materialize personal ideas and concepts.
Below is an interview with Yessenia on the inspiration for this project, the creative process, its deeper meaning and the importance of her exhibiting at Casa Collin.
When and how did the idea for this project come about?
In 2023, I was invited to participate in a group exhibition at the Ex Hacienda San José Cultural Space. The theme was migration. I remembered the book Tony Papalote and contextualized the story in Oaxaca. I wanted to revisit it through embroidery because it's an ancestral technique and also because it represents my ideals.
What was the creative process like? Did you work with anyone else?
The process has lasted approximately three years. It began with a shorter version of the original story and I contextualized it in Oaxaca. My friend Alejandra helped me with the illustrations, using information I gave her. In the embroidery process, Señora Norma and her daughter Sandra were fundamental. They helped me with the sewing and most of the embroidery. My mother, Alejandrina, my cousins Rosaura and Sinaí, and some friends, Citlali, Cecilia, Yesenia, and Yaritzi, also joined in. My brother Roman and the CRREAD Rehabilitation Center also helped me with the text layout and even did some embroidery which was the final piece of this project.
How did you decide on the overall design of the characters and the color palette for the tapestries?
All the characters are preserved as in the original story, except for Jane, who is a female character in this narrative. Janelly is my niece, who migrated at the age of 5; I chose her character's clothing and hairstyle from a photograph taken weeks before she left. Drimworks and Papalote are also her designs, as I asked her to draw them and choose the colors.
The tone of each canvas was based on the illustration that would be embroidered on it.
What part of the project are you most proud of?
Honoring a family history through thread and embroidery.
How do you feel your work has been received?
Just as I received it the first time I heard it, this story resonates not only in my heart, but in the hearts of many people who somehow have a family member or know stories of people who choose to leave in search of better opportunities.
How does this project fit into your overall artistic practice?
My artist project 'Nihilita' emerged as a way to honor the life my maternal grandmother gave us. In this sense, "Jane Papalote" honors my niece's story, but at the same time, the story of all those childhoods that are born or that somehow become migratory. This work is the first I've created in a large format; seeing it exhibited and hearing the public's reactions has inspired me to continue creating from the heart and in this format.
Were there any important conversations that arose from the exhibition of this work?
From the first time "Jane Papalote" was exhibited until now, I have met people who have shared their spaces with me. Among them is the author of the original book: Magdalena Clara Torrielli, who also participated in the BS San Pablo, as well as Oscar Uriel, director of the CRREAD Rehabilitation Center. And last but not least, led me to meeting Poupak, who invited me to participate in Casa Collin. In this way, the piece has had the opportunity to be presented in different forums. My infinite gratitude goes to those who have trusted this project.
Did you learn anything from this experience that will change the way you work in the future?
I learned to always see things with empathy, I learned to question my own privilege. Not everyone is under the same circumstances, and it's important to acknowledge that.
Why was it important for you to show this work at Casa Collin?
It was important because Casa Collin interacts directly with people on the move. What they do here is commendable: providing a roof, a place to rest, warm food, a safe place to breathe with dignity. Not everyone is prepared to provide this type of help, not even the local residents, much less the government. Casa Collin is more than a space for humanitarian aid; it's a place where small gestures of knowing ourselves as human beings are shown, and through that, we resist with tenderness.
I want to quote Wislawa, a Polish author: “Forgive me, distant wars, for bringing flowers home,” this is what Jane Papalote and Casa Collin represent to me.
-Yessenia Garnica Cortes
