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拍品专文
Née en 1934 dans le Nebraska, l’artiste américaine Sheila Hicks vit et travaille en France depuis le milieu des années 1960. Mise en lumière par une récente rétrospective au Centre Pompidou, son œuvre inclassable fait usage de laine, de lin ou de coton, explorant les infinies possibilités du tissage pour mieux bousculer les conceptions esthétiques de notre époque. Ancienne élève des cours de Josef Albers à l’Université de Yale, Sheila Hicks est imprégnée du principe développé par le Bauhaus visant à abolir les hiérarchies entre ce qu’il a été convenu d’appeler beaux-arts et les arts dits populaires. Grâce à Albers, elle découvre en outre l’art textile précolombien, auquel elle consacre une thèse et qui exercera une influence déterminante sur son travail. Déclinant le tissage sur de multiples supports (ici, des bâtons de bois) et dans des formats très différents (parfois à des échelles monumentales, comme la cascade de pompons multicolores présentés à la Biennale de Venise 2017), jouant des formes et des couleurs, elle offre au regardeur le spectacle enchanteur du fil devenu peinture.
Born in Nebraska in 1934, the American artist Sheila Hicks has been living and working in France since the mid-1960s. Highlighted by a recent retrospective at the Centre Pompidou, her work, which defies classification, makes use of wool, linen and cotton and explores the infinite possibilities of weaving to better shake up our present-day ideas about aesthetics. A former pupil of Josef Albers at the University of Yale, Sheila Hicks has adopted the Bauhaus principle of doing away with the hierarchies between what is deemed fine art and so-called “popular” art. Though Albers, she also discovered pre-Columbian textile art, which she wrote a thesis on and which strongly influences her work. Weaving on multiple supports (here, wooden sticks) and in very different formats (sometimes on a monumental scale, like the cascade of multicoloured pompoms presented at the Venice Biennale in 2017), playing with shape and colour, she offers the viewer an enchanting spectacle of thread transformed into paint.
Born in Nebraska in 1934, the American artist Sheila Hicks has been living and working in France since the mid-1960s. Highlighted by a recent retrospective at the Centre Pompidou, her work, which defies classification, makes use of wool, linen and cotton and explores the infinite possibilities of weaving to better shake up our present-day ideas about aesthetics. A former pupil of Josef Albers at the University of Yale, Sheila Hicks has adopted the Bauhaus principle of doing away with the hierarchies between what is deemed fine art and so-called “popular” art. Though Albers, she also discovered pre-Columbian textile art, which she wrote a thesis on and which strongly influences her work. Weaving on multiple supports (here, wooden sticks) and in very different formats (sometimes on a monumental scale, like the cascade of multicoloured pompoms presented at the Venice Biennale in 2017), playing with shape and colour, she offers the viewer an enchanting spectacle of thread transformed into paint.