Sheila Hicks Tapestry 1977
© Sheila Hicks
This large work was executed during an important period in the artist’s career, when she began exploring artisanal and craft work from Africa and the Middle East. Under the auspices of the Moroccan Ministries of Applied Arts and Community Development, she traveled to Rabat to design rugs. Exploring various craft techniques within Tapestry, particularly through the making of large tassels, Hicks exaggerates and plays with traditional forms. The domed arc of the composition, as well as other shapes that she used during this period, reflect the influence of Islamic architectural motifs the artist studied in Fez, Marrakech, and Zagora. During this period, Hicks also traveled throughout Israel, visiting local workshops and kibbutzim. Her desire to reflect these myriad visual, cultural, and technical influences within a secular form led to the creation of a series of dramatic dense wall-based works, of which Tapestry is a characteristic example.
Identification
Title
Tapestry
Production Date
1977
Object Number
2015.31a-b
Credit Line
Collection Pérez Art Museum Miami, museum purchase with funds provided by PAMM’s Collectors Council
Copyright
© Sheila Hicks
https://www.pamm.org/en/artwork/2015.31a-b
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Physical Qualities
Medium
Linen
Dimensions
74 3/4 x 74 3/4 inches
Visual Description
Tapestry by Sheila Hicks is a sculpture made in 1977. It is made of linen and measures roughly six feet by six feet. It is hung on the wall like a painting.
The piece is made with a foundation of two rectangular pieces arranged vertically. The two rectangles appear similar to painting canvas and are joined and mounted to the wall to create a square composition. The backing is covered in a fabric that is light brown in color. Fixed on this backing are many tassels that are made of linen and are also light brown in color. The tassels are arranged in the shape of an arch or a lancet window which is a type of window commonly used in Christian churches. This arch starts at the bottom left corner of the square, reaches its height at the very middle of the sculpture along its top side, across the dividing line of the two joined panels. The arch of tassels then descends toward the bottom right of the sculpture. Under this arch, hundreds of different tassels layer over one another, dangling downward at different lengths and girths. They average between four to six inches long and flare out in the traditionally conical shape for a fabric tassel. At the very bottom of the sculpture, many of the tassels extend past the bottom edge of the composition.
