Olga de Amaral’s carefully woven objects act as deconstructed paintings, cut up and reassembled to create a striking hanging sculpture.The modernist notion of the solidity of painting is challenged by harnessing the expressive potential of tonal range, which can only fully be experienced by viewing the work from different angles. 

The laboriously hand-woven grids of Cuarzo 1, 2015 are composed in a pattern that echoes the non-linear contours of the work itself and alludes to the scalar principles of fractal mathematics. Suspended in space, the work appears to shift from solid, to liquid - reflecting the light around it.The shimmering reflection creates the impression of an object as solid and heavy as metal but seamlessly floating and shifting ever so slightly with a current of air, denying any weight. Amaral’s use of palladium stems from its ability to resist oxidation, an observation that makes evident the artist’s tireless process-driven experimentation with various materials and techniques. 

The constraints resulting from the degree of tightness and proximity between strips leave more room for light and gravity to participate in the composition of the work. Cuarzo 1 is looser, less rigid, and less bound together than other series, allowing light to participate from the back of the piece, reminiscent of the shimmer of cascading water.

Olga de Amaral’s carefully woven objects act as deconstructed paintings, cut up and reassembled to create a striking hanging sculpture.The modernist notion of the solidity of painting is challenged by harnessing the expressive potential of tonal range, which can only fully be experienced by viewing the work from different angles. 

The laboriously hand-woven grids of Cuarzo 1, 2015 are composed in a pattern that echoes the non-linear contours of the work itself and alludes to the scalar principles of fractal mathematics. Suspended in space, the work appears to shift from solid, to liquid - reflecting the light around it.The shimmering reflection creates the impression of an object as solid and heavy as metal but seamlessly floating and shifting ever so slightly with a current of air, denying any weight. Amaral’s use of palladium stems from its ability to resist oxidation, an observation that makes evident the artist’s tireless process-driven experimentation with various materials and techniques. 

The constraints resulting from the degree of tightness and proximity between strips leave more room for light and gravity to participate in the composition of the work. Cuarzo 1 is looser, less rigid, and less bound together than other series, allowing light to participate from the back of the piece, reminiscent of the shimmer of cascading water.

Olga de Amaral’s carefully woven objects act as deconstructed paintings, cut up and reassembled to create a striking hanging sculpture.The modernist notion of the solidity of painting is challenged by harnessing the expressive potential of tonal range, which can only fully be experienced by viewing the work from different angles. 

The laboriously hand-woven grids of Cuarzo 1, 2015 are composed in a pattern that echoes the non-linear contours of the work itself and alludes to the scalar principles of fractal mathematics. Suspended in space, the work appears to shift from solid, to liquid - reflecting the light around it.The shimmering reflection creates the impression of an object as solid and heavy as metal but seamlessly floating and shifting ever so slightly with a current of air, denying any weight. Amaral’s use of palladium stems from its ability to resist oxidation, an observation that makes evident the artist’s tireless process-driven experimentation with various materials and techniques. 

The constraints resulting from the degree of tightness and proximity between strips leave more room for light and gravity to participate in the composition of the work. Cuarzo 1 is looser, less rigid, and less bound together than other series, allowing light to participate from the back of the piece, reminiscent of the shimmer of cascading water.

Olga de Amaral’s carefully woven objects act as deconstructed paintings, cut up and reassembled to create a striking hanging sculpture.The modernist notion of the solidity of painting is challenged by harnessing the expressive potential of tonal range, which can only fully be experienced by viewing the work from different angles. 

The laboriously hand-woven grids of Cuarzo 1, 2015 are composed in a pattern that echoes the non-linear contours of the work itself and alludes to the scalar principles of fractal mathematics. Suspended in space, the work appears to shift from solid, to liquid - reflecting the light around it.The shimmering reflection creates the impression of an object as solid and heavy as metal but seamlessly floating and shifting ever so slightly with a current of air, denying any weight. Amaral’s use of palladium stems from its ability to resist oxidation, an observation that makes evident the artist’s tireless process-driven experimentation with various materials and techniques. 

The constraints resulting from the degree of tightness and proximity between strips leave more room for light and gravity to participate in the composition of the work. Cuarzo 1 is looser, less rigid, and less bound together than other series, allowing light to participate from the back of the piece, reminiscent of the shimmer of cascading water.