In my illustration of Un Acordeón tras La Reja by Manuel Zapata Olivella, I borrow imagery from eclectic sources including botanical illustrations, actual lace samples and depictions of lace from Spanish Colonial painting, and Latin American folk imagery and portraiture in order to examine the invisible paths of cultural memory born from my homeland Colombia. I looked at art imagery from Colombian portrait artists including Pedro Nel Gomez and Débora Arango and brought this sensibility into the work. Created as woodcuts, these images reference the medium’s long history of mass dissemination and use for social activism.