This contemporary art piece features a series of three woven tapestries displayed side-by-side. The visual elements are primarily composed of vertical and horizontal lines, with a focus on geometric shapes and patterns. The dominant colors used are various shades of brown and beige, creating a warm and earthy tone.
The subject matter of the artwork appears to be a representation of abstract numerical symbols, with the central tapestry displaying the number "5" prominently. The overall composition and the use of repetitive patterns suggest a minimalist and conceptual approach to the artwork.
The artistic style and technique employed in this piece are reminiscent of traditional weaving and textile art, but with a modern and experimental twist. The artist has likely used a combination of natural and synthetic materials to create the intricate woven patterns.
The context of this artwork suggests a exploration of themes related to numerology, symbolism, and the interplay between traditional craft and contemporary art practices. ...
Ximena Garrido-Lecca creates sculptures and installations which trace the violent history and contemporary reality of colonialism in Peru. Garrido-Lecca is incredibly invested in reviving Peruvian indigenous culture and folklore, her earlier works such as Walls of Progress (2009) and The Followers (2010) recreated quintessentially Peruvian sites. The former saw the artist create miniature replicas of ancient mud walls with commercial advertisements painted over them, referencing the corruption of indigenous practices in Peru. In other works, Garrido-Lecca will replicate traditional Peruvian craftwork such as ceramics or textiles, yet the materials used subvert tradition. In Campos de Polaridad II (2019) hand thrown ceramic vases are cracked with iron solder with LED light tubes spouting from their openings. In Redes de conversión: Puntadas entrelazadas de bucle (2021), a textile blanket is woven with copper cables, attached to a LED panel displaying a countdown. Within her practice, countless sacred sites and customs are marred with destructive materials, signalling the cultural destruction brought about by globalisation. Outside of cultural customs, Garrido-Lecca’s work also analyses the direct impact colonisation and globalisation have had upon Peru’s urban and rural areas, questioning how these global forces have irrevocably shaped Peru’s landscape. ...
Since its opening in 2017, PEANA has served as a platform for multidisciplinary production and research of emerging Mexican contemporary art, with a strong emphasis on experimental practices. A recurring characteristic of the artists they support is the continuous evolution of the artistic lineage of conceptual rigorously expressions that are grounded in the plasticity of the artwork’s materiality. Through its off-site and group exhibitions PEANA is interested in the curatorial practice as cultural synthesis that bridges historicized art practices to emerging ones from Mexico and abroad. ...
-232?_a=BAVAZGBz0)
