After working as an environmental designer and curator for 25 years designing exhibitions, art installations, and public sculptures, in 2020 Sebastian Clough turned his full attention to creating unique textiles, furniture, enamels, and textile art installations.This website is designed to showcase these current endeavors. A link is provided to access the archive of previous design projects. Seb currently lives between Mexico City and Joshua Tree, California.

www.tallermotet.com

‍

Through courses in forest management, reflections on their territory and the diverse ways in which modernity is transforming life in the sierra, this work explores what it means to be a young Wixárika in the 21st century. For the participants, this was their first experience with poetry and artistic photography. The results offer us a window into the minds and hearts of these Wixaritari men and women. An invitation to connect with extraordinary honesty and sensitivity.

‍

Omen offers a counter narrative by reframing the marginalized and forgotten, highlighting racialized power dynamics and systemic erasure of non-white stories. A collaboration between a Mexican editor and a Colombian photographer, the project involved re-examining over 20,000 FSA images from the New York Public Library. This act of artistic expression aims to retell the story from the margins, imbuing images with new meanings and challenging viewers’ perceptions. Set against the backdrop of the U.S.’s complex relationship with Latin America, Omen explores shared histories marked by imperial ambitions and cultural hegemony. The book confronts accepted narratives, adding complexity to our understanding of the American dream. It emphasizes viewing images through a lens that critiques racialized power dynamics and recognizes silenced voices.

The Gaceta of the Fondo de Cultura Económica is a Mexican publication, monthly and free of charge, in which books, authors and topics of interest to the FCE are discussed through reviews, articles and excerpts of works. It was founded by Arnaldo Orfila Reynal in 1954 and in 1971, under the direction of Jaime García Terrés, it began a “new era”. In 1987 it won Mexico's National Journalism Award and in 2011, the Caniem Award for Editorial Art for Periodicals.

News:2 The Radical Ally (2019)
In 1984, Jean Genet began compiling his major articles, starting with “The Declared Enemy,” a text written in Tangiers in 1970 during his involvement with the Black Panther Party. This text later became the title of Albert Dichy’s collection of Genet’s works. Bouchra Khalili’s "The Radical Ally" explores Genet’s legacy through her project "Twenty-Two Hours" (2018), where she traces his time with the Panthers, examining the political memory of their struggle. Through interviews with activists like Quiana Pontes, Vanessa Silva, and Doug Miranda, Khalili delves into the layered history of liberation movements. Dichy highlights Genet’s search for an “enemy of [his] stature,” as expressed in *“The Page of Tangier.”* Khalili reinterprets this idea, framing the *radical ally* as the antithesis of the *declared enemy.* She emphasizes Genet’s need to “destroy the white man in him” to achieve this role, a process he metaphorically described as stripping the enemy of all human traits, leaving only the essence of opposition. This exploration reveals the complexities of solidarity and self-transformation in the fight for justice.

‍

News:3 Domestic Orbits (2019)
its a speculative essay of critical cartographic that explores how the domestic space is configured around orbits of exclusion that shape the trajectories of the domestic workers. How the space it is articulated according to specific gendered, classist, racist configurations of the social? Organized through a series of case-studies that range from the 1950s until today in Mexico City, looks at the different scales in which domestic labor is erased by architects and planners. It reads the architectural plans of five well known projects from a perspective that aims highlight the social and economic relationships. In that sense, Domestic Orbits sketches a counter-history of Modern architecture that question the duality among the visible/invisible, those who count and those whose not.