‘Mi casa es mi templo’ is a readymade, white apron with four bunches of colourful, embroidered flowers decorating the bottom. In the centre of the apron we see the titular phrase embroidered in red, cursive, lower-case letters.

Feliciano Centurión understood the history of the gendered associations of textile production and he chose to embrace the domestic connotations of the practice. This work directly interacts with these assumptions surrounding domesticity and femininity. The textile works made by Centurión towards the end of his life reveal a nexus at which an affront to conservative art histories and gender-normative behaviours mingles with a practice that is also assumed for its therapeutic effect, practical convenience and tactile potential.

The phrase at the heart of this work has religious connotations, it elevates and consecrates the domestic sphere. The home represented, for the artist, a sanctuary - a place of safety and rest. Furthermore, for Centurión, the notion of finding comfort at home relates to his illness with AIDS and his identity as a Paraguayan immigrant living in Argentina; it relates to the inevitable search for physical belonging and refuge.