Weaving unique perspectives and stories through one of the world’s oldest crafts, “Threaded Visions: Contemporary Weaving from the Collection“ features the work of thirteen contemporary artists from five countries in a comprehensive exhibition, curated by Melinda Watt, chair and Christa C. Mayer Thurman Curator of Textiles at the Art Institute of Chicago. Exploring the rich tapestry of contemporary weaving, from the use of cutting-edge digital technology to the incorporation of materials with deep cultural significance, the artists—both established and emerging—reveal depth and diversity. Watt discusses the artists’ synergy, their ability to bridge historical traditions with contemporary innovations, and the way textile art persistently crafts a compelling narrative that forges connections to our cultural heritage.
Tell us about the “Threaded Visions: Contemporary Weaving from the Collection” exhibition—where do you find synergy between the artists?
In developing the exhibition I first defined the parameters—limiting the exhibition to contemporary weavers, as opposed to fiber artists working in other techniques, like embroidery. With those parameters in mind, I chose artists who have demonstrated the importance of history and cultural exchange in their practice. Then I identified common strategies among these artists and that is how we’ve organized the exhibition.
The show begins with an emphasis on the basic grid that is the basis of weaving, such as what we see in “White Dwarf” by Maria Dávila and Eduardo Portillo or “Alquimia III” (Alchemy III) by Olga de Amaral. Visitors will then see how artists experiment with the spacing of woven elements as in Olga de Amaral’s “Entorno Quieto 5” (Stillness 5) or Peter Collingwood’s “Macrogauze 36-Red 3D.” And the last section highlights artists who use advanced patterning technologies to weave representational images. “Clout Chasin'” by Qualeasha Wood employs the most advanced digital weaving technology, while Cynthia Shira and Lea Cook use variations on mechanical patterning and hand weaving.
Each artist has chosen a level of technology that reflects and augments their artistic aims, but I think that they share an interest in analyzing and exploring technique to find the one that is right for them at any given moment.
Can you talk about the importance of cultural significance in the materials chosen by the artists and how it influences their storytelling through textiles?
Both materials and techniques can convey cultural significance. We see the importance of materials in the work of Maria Dávila and Eduardo Portillo. They use a combination of silk which is used globally, and materials that are particular to Venezuela and South America, like alpaca fleece and Moriche palm fiber. The palm fiber in particular is interesting because it’s normally used for modest practical objects like hammocks, nets and baskets. Olga de Amaral uses gold in “Alquimia III”—the precious metal that was prevalent in artistic and religious practices in pre-conquest Colombia. But she also uses materials with less intrinsic value like wool and horsehair in “Entorno Quieto 5.” Horsehair is employed to make outdoor garments in rural Colombia because it’s strong and hardwearing.
How does the exhibition highlight the interplay between the historical importance and contemporary evolution in textile art?
I find the work of artists like James Bassler and Ethel Stein to be particularly good examples of the interaction between the global history of textiles and contemporary practice. Bassler’s “A Weaving” makes reference to the four-selvage weaving found in pre-Columbian Andean garments and in Diné [Navajo] weaving. He also uses a Diné technique called wedge weaving which creates angled areas of color and structure. Ethel Stein’s “Butah” is an homage to Central Asian ikat [warp-dyed] textiles and the paisley motif often seen in this region. Both artists reference historical motifs and strategies and have created large, stylized representations that are completely contemporary.
Do you have a personal favorite?
I have several favorites for different reasons, but if forced to choose one, it would be “White Dwarf” by Maria Dávila and Eduardo Portillo. It is a sparkling mosaic of color and texture, and I am in awe of their ability to take contrasting materials—shining metal threads and silk, versus rough palm fiber—and make them sing together. Their combination of poetic vision and technical prowess are unique.
What do you hope visitors take away from the exhibition, particularly in terms of understanding weaving as both an art form and a medium for storytelling?
This is a focused exhibition of fifteen works from thirteen artists, and I hope that the exhibition successfully demonstrates the incredible variety of compositions and images that the technique of weaving can create. At the same time, it fosters an appreciation for the complexities involved in the creative process and the dedication to their practice that each artist has made.
This exhibition serves as a reminder that while woven fabrics are ubiquitous in daily life, the process of weaving is also fertile ground for artistic expression.
“Threaded Visions: Contemporary Weaving from the Collection” is on view at the Art Institute of Chicago through August 26.
Greek-born Vasia Rigou is a writer, editor, and curator. Her appreciation for art began early, shaped by her family’s meticulously planned, culture-packed trips across Europe—complete with every museum stop imaginable. Much of her work, writing about visual art, design, and culture can be found at Newcity, Chicago’s leading culture publication, where she serves as editor. She also regularly contributes to Artnet News and to international magazines OnOffice and ICON. In her curatorial practice she explores themes of identity, intimacy, and belonging. You can usually find her gallery hopping around the city—occasionally with her toughest (and tiniest) critic, baby Benjamin, whose current favorite medium is finger paint. Say hi on Instagram or at rigouvasia.com.
