I wasn't sure what to make of this one to start with. It is a bit similar to the art they had installed here back in 2017, during the Cultural Capital Of Europe Year. If you recall that was pink spiderwebs. You can read more about it in this article we wrote back in 2017: Let's take a look at Fabrica Hill.

The second time I saw this it was night. It looks a bit better then...

See what I mean? Amazing what a bit of subtling lighting can do to a work of art.

This is part of the information page. There is more so scan the code with a phone to read it:

At the heart of Fabrika's central cavity. Andreas Savva, with his work Weaving Waters weaves transparent tape into a spatial mesh that re-enacts the logic of the quarry through a deft play of solids and voids. The cave is no longer a backdrop but an active apparatus; internal corridors, thresholds, and passages invite the visitor to move in and around the installation, in a resolutely immersive experience where the body and the eye gradually enter the work's fluctuating microcosm.

Next to the metal structure you will find this piece. Personally it is one of my favourites. I love how the fabric hugs the rocks in the same way that water would. It emphasises the natural beauty of the rock.

Of course it would help if I showed you the code...

This is the first part of the information page. There is more so scan the code with a phone to read it:

Traces and Matter, the work of Elena Daniel, reactivates weaving not as ornament but as a means of reading space - a way of tracing its palimpsest-like layers. The woven thread, inserted into stone, does not obstruct instead, it records ancient circulation, temporarily stitching micro-fractures to reveal the hidden dialogue between rock, water, and gesture.

Here, the textile acts as a flexible, not-invasive infrastructure. Through its capillary capacity to embrace, retain and filter, it translates the hydraulic history of Fabrika into a sensitive cartography - a tactile form of writing that brings into dialogue the visible traces of human intervention (cut marks, grooves, cavities) with the intangible ritual practices once bound to water. Weaving thus becomes a a material mediation between archaeology and the present, where water memory - absent yet active - re-emerges through gesture.