During this residency, the work was structured around three central axes, line, body, and time, which were interwoven through a series of creative exercises. The residency explored how the body manifests itself through the line, understood not only as a graphic mark but also as a path, a record, and a repository of memory. In this sense, the line was approached in its multiple expressions: water running over pavement, a bent wire, a stitch in embroidery, or the traces that time leaves on hands and faces.

The artistic devices used included clay modeling, silhouette tracing, the use of mirrors and masks, as well as tactile materials such as foam sheets, all of which stimulated creativity and personal expression. These activities helped participants expand their expectations of what it means to “draw well,” shifting from initial insecurity to a state of enjoyment in the creative process.

The residency also fostered moments of contemplation and deep connection, allowing for a slowing down of everyday rhythms and the emergence of links between participants’ religious vocations and their artistic experiences. Exercises such as drawing without looking at the paper or engaging in collective dynamics generated an atmosphere of relaxation and openness. This not only enriched their creative practice but also strengthened community bonds, fostering a transformative experience grounded in listening, interaction, and shared memory.