Facundo Cerain Vázquez  is an Uruguayan-Argentine artist based in Paris. He is currently in the first year of the MFA program (DNSAP) at the École Nationale Supérieure des Beaux-Arts de Paris (ENSBA), under the guidance of Tatiana Trouvé and Chloé Quenum. In 2025, he obtained the Diplôme National d'Arts Plastiques (DNAP) from the ENSBA with jury's special mention, under the guidance of Tatiana Trouvé and Petrit Halilaj & Alvaro Urbano. His recent exhibitions include Le lent demain, Air de Paris (2026), curated by Sebastián Quevedo Ramírez; Between Lunch and Something Else, Galerie C (2026), curated by Sofia Lurati; Tu eres testigo de mi gran amor, JULIO artist-run space (2026) curated by María Ibanez Lago; Ritmo de floración, Beaux-Arts de Paris (2025), solo degree exhibition; La casa, Las ligas menores (2025), curated by Valentina Rosas Saad; Une mer de petites flammes, Air de Paris (2024), curated by Sebastián Quevedo Ramírez, among others.

Through embroidery, sewing, installation, and the use of found objects, he seeks to create an intimate and emotional space that engages with notions of care, love, desire, and personal healing. Working with found materials that carry the memory of their previous uses, he develops a visual language in which the presence of their histories emerges through their absence. 

His practice is organized around the slow, deliberate gestures of hand embroidery and sewing, where a performative and compulsive repetition of movement becomes a means of building a restorative environment. Each stitch unfolds over extended time, functioning as a form of quiet resistance to dominant logics of productivity and acceleration, privileging instead attention, care, and repair. As a self-taught embroiderer, his work is the result of a slow, continuous, and intuitive process of learning, one shaped by listening, observation, and exchange with others.

Sensuality, fragility, and intimacy run throughout: sensuality in the way the body comes into contact with the textile surface, in that soft and warm proximity; fragility in the material itself and the care it demands; intimacy born of the slow time of embroidery, deepened by the act of ornamentation, decorating an already existing surface as a gesture of affection. Together, these qualities produce a close relationship with objects, generating a consoling environment in which slow work becomes a way of moving through instability by means of repetition.