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Olga de Amaral: To Weave a Rock

Book  /  Arnoldsche   Artists
Published: 22.09.2020
Olga de Amaral: To Weave a Rock.
Anna Walker
Laura Mott
Mail:
presseE-mailarnoldsche.com
Edited by:
Arnoldsche Art Publishers
Edited at:
Stuttgart
Edited on:
2020
Technical data:
144 pages; Hardcover; 91 illustrations; English; 23 x 28 cm
ISBN / ISSN:
978-3-89790-596-2
Price: 
from 28 €
Order: 
Website Arnoldsche Art Publisher
Order: 
20% Discount for Klimt02 members
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Intro
Renowned Colombian textile artist Olga de Amaral’s oeuvre spans more than six decades and is informed as much by her continual artisanal ingenuity as it is by groundbreaking experimental works that defy explicit categorization. In Olga de Amaral: To Weave a Rock, some fifty of her most significant works from the 1960s to the present date are illustrated in both large format and detail, accompanied by well-informed texts by renowned art historians. The publication marks the major exhibition that will be touring key museums in the United States in 2021 and 2022.
Olga de Amaral (b. 1932 in Bogotá) is one of the world’s most distinguished textile artists. After studying in the United States, among other places, and returning to Colombia, she developed the visual idiom that she is known for today by experimenting with braiding, winding and coiling as well as manipulating warps, with the artisanal fundamentals of weaving providing the starting point for her sculptural explorations. Colour, structure, process and materiality always play a central role. The Colombian landscape, pre-Columbian textiles and the basketry of indigenous peoples are for her as much an inspiration as the principals of abstract geometry. Gold and silver leaf and acrylic paint are found over and again in Amaral’s textural works, which she creates from such woven  materials as silk, cotton, horsehair or linen. Moreover, she often weaves in bristles and strands of hair in order to create an all-over texture to her colour compositions.

On a conceptual level Olga de Amaral repeatedly examined questions of materiality and space which coincided with contemporary discourses in painting, sculpture, installation art and Land Art. Thus in the late 1960s, she experimented with synthetic materials in the series Luz (Light), using columns or cascades of layered polyurethane the size of walls alongside plastic panels. In the 1970s she caused a sensation when she created several outdoor installations in which wool and horsehair disappeared like camouflage into the rock formations of the Colombian landscape.
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