A founding member of the Mexican contemporary art scene, the career of Eduardo Terrazas (1936, Guadalajara, Mexico) has been characterized by fifty years of dedication to the fields of architecture, design, museology, urban planning, and art. Terrazas came to prominence as a young architect when he was selected as the co-designer of the logo and prevalent design elements for the 1968 Olympic games in Mexico City. The logo, which was traced in concentric circles, was inspired by Huichol artisan techniques from Jalisco, Durango, and Nayarit, set a precedent for the geometric forms that have come to define the artist’s visual language. In the 1970s, Terrazas began experimenting with the formal relationships of geometric elements through drawings. These investigations, combined with the appropriation of elements from Mexican folk art, have resulted in a unique language that navigates both contemporary art and craft traditions. For Terrazas, the application of craft is an essential ontological process, which he deems particularly poignant for the 21st century. The Huichol yarn technique, in which coloured yarn is arranged on wax-covered boards, has been adopted by Terrazas not only for its aesthetic properties, but also due to its labourious demands, which require absorption in the act, and therefore meditation within the process.