Maravilla’s frames are part of the material evidence that shows how each artwork came into being. In addition to the spikey cotton material, he has also created frames out of objects gathered from markets along the route he took as an eight-year-old child travelling alone from El Salvador to the United States. “Because someone else’s hand is in it, I wanted to have my own hand in it,” said Maravilla.
But those found materials also point to the concerns of Maravilla’s practice as a whole, where art is not a commodity made in isolation, but a spiritual project and a tool for generating wealth for immigrant communities. In his work, a frame does not simply mark a border, but also acts as a bridge between secular cultural institutions and spaces of collaborative healing.