Reencounter – 2019
Analogías compositivas: arquitectura y fotografía
BADAGARA. ca. 1966. Algodón y lana. Cotton and wool. 116 x 120 cm.Colección de la artista.
BADAGARA. (Detalle). ca. 1966. Algodón y lana. Cotton and wool. 116 x 120 cm.Colección de la artista.
BADAGARA. (Detalle). ca. 1966. Algodón y lana. Cotton and wool. 116 x 120 cm.Colección de la artista.
Analogías compositivas: arquitectura y fotografía
Analogías compositivas: arquitectura y fotografía
Sheila Hicks y Sergio Larraín. Ca. 1958
Gorros con flecaduras. Fringed hat. Cultura Arica.
Gorro con flecaduras. Fringed hat. Tejido entrelazado oblicuo (sprang), torsión (flecos). Fibra de camélido. Oblique interlacing weave (sprang), torsión (fringes). Camelid fiber. Cultura Nasca, costa sur de Perú, 100-700 DC. Museo Chileno de Arte Precolombino-Colección Apelles, PE-232. (920 x 160 mm).
Fajas con cordones. Cultura Arica
Compositional Analogies: Architecture and Photography
The artwork of Sheila Hicks shares constructive and compositional analogies not only with Andean textiles, but also with pre-Columbian architecture. The artist’s photography practice is in itself an understanding of the relationship between art and space, solidity and emptiness, constituted in studies and observations on the integrity of pre-Columbian art.
Hicks began by creating monochromatic and highly textural weavings to understand structures. The loom system imposes structural relationships between the horizontal and the vertical, which are also reflected in the matrices of the architecture. This series was conceived as an extra-linguistic code–a medium for communication, record-keeping, and memory–in which the variations and irregularities of the structure compose a specific message.