The textiles and installations of the American artist, who has been living in Paris since the mid-1960s, elude traditional ideas of textile art and techniques of knotting and weaving. In the development and perception of the objects, the sculptural, the tactile, fine color nuances up to vibrating luminosity, and nature play an essential role as the starting point and poetry of the textile. Her visionary practice between visual and applied art is determined by the processes and parameters of studio production. At the end of the 1950s, a Fulbright grant enabled her to spend time in Peru, Bolivia, and Chile. In Mexico she developed a close connection to the architect Luis Barragán (1902–1988). To this day, Hicks sees the textile as an intrinsic element of architecture and a metaphor for measuring space—comparable to the practice-oriented approach of architect and theoretician Gottfried Semper (1803–1879), who explored the context between nature, textile, architecture, and space.
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