{"id":436049,"date":"2026-09-09T12:06:00","date_gmt":"2026-09-09T16:06:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=436049"},"modified":"2026-09-08T12:34:12","modified_gmt":"2026-09-08T16:34:12","slug":"olga-de-amaral","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/olga-de-amaral\/","title":{"rendered":"Olga de Amaral\u2019s Textile Is Part Painting, Part Sculpture, Part Light Show"},"content":{"rendered":"
\n
\"Memento<\/a>
Memento 7<\/em>, 2010, by Olga de Amaral<\/a> hangs on the wall at Heather James Fine Art<\/a>.<\/figcaption><\/figure>\n<\/div>\n\n\n

\u201cPhotos really can\u2019t capture it!\u201d says Jenna Grotelueschen, marketing director at Heather James Fine Art<\/a>, referring to Olga de Amaral\u2019<\/a>s Memento 7<\/em><\/a> (2010). \u201cThe gold leaf catches light differently with every step you take around the piece, so it is very dynamic in the room. It\u2019s less like looking at a static object and more like watching light move through water.\u201d<\/p>\n\n\n\n

That\u2019s a lot to ask of a textile. Then again, de Amaral has never been particularly interested in behaving like a conventional textile artist<\/a>.<\/p>\n\n\n\n

Born in Bogot\u00e1 in 1932, she studied architectural drafting before shifting to weaving at the Cranbrook Academy of Art, in Michigan.<\/p>\n\n\n\n

When she returned to Colombia, in 1955, de Amaral began experimenting with woven forms that traversed the boundaries between textile, painting, sculpture and architecture.<\/p>\n\n\n\n

Seven decades later, she\u2019s still at it \u2014 and museums and collectors are finally paying close attention.<\/p>\n\n\n

\n
\"
Closeup of Memento 7<\/em>, 2010, by Olga de Amaral<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n

On September 10, the Pulitzer Arts Foundation, in St. Louis, opened \u201cOlga de Amaral: Weaving the Infinite<\/a>,\u201d a retrospective comprising 130 textiles and works on paper. The show, which runs through January 31, follows de Amaral\u2019s artistic evolution, starting with her weavings of the 1950s and ending with her monumental works of recent decades. It travels to New York City\u2019s Cooper Hewitt, Smithsonian Design Museum, next April.<\/p>\n\n\n\n

\u201c<\/strong>Frankly, we think the art world is finally catching up to her,\u201d says Julia Jackson, senior vice president at Heather James. \u201cShe\u2019s been doing this at the highest level for seven decades. And a wave of major shows, from her 2024 Fondation Cartier retrospective \u2014 which traveled to the Institute of Contemporary Art, Miami \u2014 to her inclusion in MoMA\u2019s \u2018Woven Histories<\/a>,\u2019 in 2025, is putting her rightfully alongside artists like Agnes Martin<\/a>.\u201d<\/p>\n\n\n\n

\"Memento
A detailed view of the gold foil and acrylic paints on the woven linen strips of Memento 7<\/em>, 2010, by Olga de Amaral<\/a><\/figcaption><\/figure>\n\n\n\n

Memento 7<\/em> initially reads as \u200bhighly structured, even gridlike. Move closer, though, and another layer emerges. De Amaral has applied white, blue, green, magenta and black acrylic paints to the gessoed woven linen strips.<\/p>\n\n\n\n

So, what first appears to be an intricate textile begins to look like an expressionist painting \u200bcrossing through golden meridians. The mix of mediums never fully resolves into one or the other.<\/p>\n\n\n

\n
\"Memento
Memento 7<\/em>, 2010, by Olga de Amaral<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n

Gold, meanwhile, does more than shimmer. De Amaral has long drawn on the cultural and spiritual significance of gold in pre-Columbian traditions, and in the \u201cMemento\u201d works, it takes on a particularly poignant role.<\/p>\n\n\n\n

\u201cThe gold is doing the work of memory itself, catching and losing light the way a memory sharpens and fades over time,\u201d Grotelueschen says. \u201cThe piece feels like it\u2019s holding on to something rather than just depicting it.\u201d<\/p>\n\n\n\t

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\n\t\t\t\t\t\tExplore More Textile Art on 1stDibs\t\t\t\t\t<\/div>\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/a>\n\t\t\t\t\n\t\t\t\t\tView All<\/span>\n\t\t\t\t<\/a>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n","protected":false},"excerpt":{"rendered":"

\u201cPhotos really can\u2019t capture it!\u201d says Jenna Grotelueschen, marketing director at Heather James Fine Art, referring to Olga de Amaral\u2019s Memento 7 (2010). \u201cThe gold leaf catches light differently with every step you take around the piece, so it is very dynamic in the room. It\u2019s less like looking at a static object and more 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