The Ou-Mun screen takes its name from Macau’s original name. In this piece, Portuguese embroidery is deconstructed from its traditional territory and form to inhabit a new geometry and function. Not out of nostalgia or historical consequence, but as a coexistence of different times and heritages.
The design emerged from a study of the imperial robes of ancient Chinese dynasties, known as longpao, whose embroidered motifs once encoded a hierarchical system of symbols. The structure of the piece echoes the form of a circular fan, objects that symbolized status and power, carrying spiritual weight as emblems of virtue and wisdom. Among court women, fans enabled a silent form of communication known as the “language of the fan.” When the Portuguese arrived in Macau at the end of the 16th century, folding screens became coveted objects, absorbed into Macanese domestic life.
The making of this piece is deliberate. By removing the embroidery from its usual context, the proposal was to lift it off the floor, freeing it from the rigid, traditional geometry of rugs and transform it into a functional, singular object.
In creating this circular screen, the artist sought to materialize a harmony of opposites: on one side, the opulent detail and graphic weight of wool; on the other, the purity of raw linen. This is built on the belief that how something is made is also what it says. The blending of materials and design here is not ornamental — it is foundational. It asserts that a single body can hold several souls without contradiction.
Designed for Lisbon Design Week 2026, part of the collective exhibition Sotaque, a group of artists and designers rooted in the Lusophone network.
Photo Credit: Ariel da Mata (Main Image)
This work is offered for sale by the designer through The LDW Edit, a curated platform by Lisbon Design Week. LDW facilitates the transaction and is not the seller.
Technical Information
Year: 2026
Artists: Mariana Rola Pereira in collaboration with Rival
Edition: Unique Piece