2014
I have always kept in mind that every proposed textile exhibition I have organized in this country with the consistent and determined help of the Costa Rican – North American Cultural Center has little by little borne fruit. After four exhibitions on the international scene – in chronological order, the World Textile Art Organization’s IV International Biennial of Textile Art and Design in 2006, the First Encounter of the Ibero-American Textile Network in 2010, the sample in Lithuania where Costa Rica was the special guest of the European Textile Network in their 20th anniversary, and then as special guests of the last International Festival of the Arts (FIA 12) – we believed it was necessary to refresh the process and launch a call for TEXTILES ON THE EDGE 14. This call was launched, on the one hand, in the spirit of discovering new values within Costa Rican textile art, and on the other, with the idea of fortifying with new opportunities the discipline and investigation that has been systematically evolving in some participants. That is, the idea is to achieve a coherent body of work that can represent an identifying force, with textile creations whose plurality and alternating discourses can be transformed into our letter of introduction for local or international scenarios. For this it was necessary to achieve stronger, more fluid ties between technique, image and conceptual proposition; the idea is to take risks and dare to think that past achievements can be transcended, taking textile to the edge so that, once converted into an image on the edge it can activate and provoke spectators eager to see objects on different levels than what we are accustomed to appreciate.
Fulfilling our expectations, TEXTILES ON THE EDGE has become a space for a variety of proposals of great museographic unity, with timely critical and technical strategies. The project has become an instrument for maturing the visual language of some textile creators and initiating the creative path of others. It is a sample that, taken as a whole, uses the energy and creative drive of the participants to invite the spectator to leave their comfort zones while individual textile languages are consolidating. Manuel Arce, the Center’s cultural director, Juan Diego Roldán, Visual Arts Coordinator of the Sophia Wanamaker Gallery, Ma. Enriqueta Guardia and Hugo Pineda from Costa Rica, and Susan Taber Avila and Marci Rae Mc Dade have, with the generous support of the U.S. Embassy, visited as members of the jury and contributed their knowledge, adding many more ideas for the maturing of this process. There is still a long road ahead…we will witness the joining of paths of friends who were not able to be here and they will be essential for nurturing the corps of local artistic expressions over time, showing us the immense creative and visual potential of Costa Rican textile. This is but one footprint in the road we tread… Paulina Ortiz Director, TEXTILES ON THE EDGE, 14
TEXTILES ON THE EDGE Costa Rican artistic textile endeavors today have reached a point of encounter where the efforts of many artists – upon examining Costa Rican textile proposals – give shape to the “Textiles on the Edge” project, a sample that has stirred up new ideas and traditional practices for synthesizing a new way of appreciating objects that aims more at encouraging questions than giving finished results. It is a true source of satisfaction for the Costa Rican – North American Cultural Center’s Sophia Wanamaker Gallery to add to its hall 26 proposals by resident artists of Costa Rica giving the viewpoint of textile as a form of expression that refines, from day to day, their communication strategies and finished works as a product of aesthetics. To this respect, what that encounter unites are the individualities and concerns of creative style in an aesthetic practice that is new for many and well-known but still challenging for others. Since the IV International Biennial of Textile Art and Design in 2006 and the First Encounter of the Ibero-American Textile Network in 2010, and then with the experience in 2011 of the M.K. Ciurlionis National Museum of Art in Kaunas, Lithuania, this space for the arts has – accompanied by the advice and direction of Costa Rican artist Paulina Ortiz – made these incursions into textiles to awaken in our artistic community a curiosity for expanding visual languages, for seeing textile as a medium that goes beyond that for which it had basically been designed or interpreted.
Thus it is that this mapping of experiences leads into “Textiles on the Edge”, an initiative once again by Paulina Ortiz, to make contemporary Costa Rican textile art production a topic of not only national but also international discussion. And this general discussion has required the support of several experts whom we would like to single out and thank: María Enriqueta Guardia (art historian and curator) and Hugo Pineda (cultural project designer and manager and curator) from Costa Rica, and Susan Taber Ávila (artist and professor of Design at the University of California in Davis) and Marci Rae MacDade (textile art curator and editor of the Surface Design Association Journal) from the U.S. – these last two who thanks to the support of the U.S. Embassy gave their opinions so that these national textile creators could incorporate new ideas that make their work a cultural product of extensive scope on the artistic scene. I must end by saying that this event constitutes part of a new Costa Rican creative proposal that opens up opportunities so that others may follow processes of construction in textile art and design that might well be strengthened as processes of our country’s cultural identity. Today the world can see Costa Rica taking major steps towards forming a textile proposal that is growing, reinventing itself and innovating as the perceptions of these participants become refined – participants who have watched over their line of work in the interest of an alternative that can legitimize and modernize the way local textile aesthetics are read. Today is not the end of a story. It is the start of a process, and we are sure that it will have not one, but many stories in which the leading role of textile will be evident through the honesty, quality and industriousness of its creators.
Juan Diego Roldán President of the Jury and Coordinator of Visual Arts of the Sophia Wanamaker Gallery, Costa Rica - North American Cultural Center
Oscar Carmona, Margreet Wielemaker, Emily Gassenheimer, Xavier Villafranca Iris Terรกn, Karla Herencia, Daniela Meneses, Mary Guzmรกn, Carolina Parra Marianela Salgado, Celita Ulate, Gloriana Sรกnchez Lorena Villalobos, Maricel Alvarado, Silvia E. Monge, Dunia Molina Hugo Pineda, Juan Diego Roldรกn, Paulina Ortiz, Susan Taber Avila, Marci Rae Mc Dade, Ma. Enriqueta Guardia
“THIS SPEAKS OF SITUATIONS THAT I WOULD NOT HAVE WANTED TO LIVE THROUGH, BUT EVEN THOUGH I DON’T WANT IT TO, THIS HAS ALWAYS BEEN WITHIN ME.”
Maricel Alvarado “UNNAMED SELF PORTRAIT” 2013 Fused Glass: Enamel, absolute fusion, bonding fusion, thermoforming and acrylics. 11”x 11”
“FIGURATIVE PHRASE, THE POINT OF WHICH IS THAT THERE IS NO RETURN, OR LINE IN THE SAND, OR A LIMIT AFTER WHICH SECURITY CANNOT BE GUARANTEED.”
Hetty Baak “ R E D L I N E ( K AV A D O M – H E B R E O ) ” 2014 Plaited quilt, embroidery, made entirely with clothes of a victim of violence in Guatemala. 25.5” x 53.1”
Heberth Bolaños R. “Artista invitado” “ Q U I M E R A C U LT U R A L ( 1 ) ” 2013 Ta l l a e n m a d e r a d e b a l s a c o n a p l i c a c i ó n d e textiles y acrílico.
Heberth Bolaños R. “Artista invitado” “ Q U I M E R A C U LT U R A L ( 2 ) ” 2013 Ta l l a e n m a d e r a d e b a l s a c o n a p l i c a c i ó n d e textiles y acrílico.
Heberth Bolaños R. “Artista invitado” “ Q U I M E R A C U LT U R A L ( 4 ) ” 2013 Ta l l a e n m a d e r a d e b a l s a c o n a p l i c a c i ó n d e textiles y acrílico.
“THE BASKET WOVEN BY HAND FROM REED FIBERS AND USED BY OUR COFFEE PICKERS IS AN UNEQUIVOCAL REFERENCE TO OUR COUNTRY’S CULTURE, TRADITION AND ECONOMY.”
Oscar Carmona “REED BASKET” 2013 Fused glass using pre-Columbian gold working techniques. 3.9” x 3.9”x 2.7”
“MY WORK HONORS THE INGENIOUS ABILITY OF BIRDS. I AM FASCINATED BY THE SYMBOLISM THAT NESTS AND VESSELS EVOKE BOTH ON THE “PHYSICAL AND METAPHYSICAL LEVEL.”
Emily Gassenheimer “SUPREME FLIGHT OF THE ROBIN” 2014 3- D Hand Construction with jute, raffia, hemp, embroidery threads, sheep wool, leather and fabric. 11” x 11” x 41.53”
“MY WORK HONORS THE INGENIOUS ABILITY OF BIRDS. I AM FASCINATED BY THE SYMBOLISM THAT NESTS AND VESSELS EVOKE BOTH ON THE “PHYSICAL AND METAPHYSICAL LEVEL.”
Emily Gassenheimer “STRONG WING AND FIERCE LOOK” 2014 3- D Hand Construction with jute, raffia, hemp, embroidery threads, sheep wool, leather and fabric. 11” x 11” x 9.4”
“LACE INTERTWINED FORMING SKELETONS OF WHAT ONE DAY INHABITED THE SEA, NO MORE LIFE IN IT ... JUST FLOATING PLASTICS.”
María Guzmán “ P E R F I D I O U S J E L LY F I S H ” 2013 Crochet, thermoformed experimental lace with f u s e d f i b e r s . 7. 8 ” x 1 9 . 6 ”
“THE LIVING AND THE INERT MERGE TO EXPLORE THE SYMBIOTIC RELATIONSHIP OF THE BODY AND OBJECTS.”
Karla Herencia “ARTIFICIAL BIOLOGY 1” 2013 Soft sculpture ( Plastic, fabric, thread and paint). 24” x 5.5” x 3.54”
“THE LIVING AND THE INERT MERGE TO EXPLORE THE SYMBIOTIC RELATIONSHIP OF THE BODY AND OBJECTS.”
Karla Herencia “ARTIFICIAL BIOLOGY 2” 2013 Soft sculpture ( Plastic, fabric, thread and paint). 59” x 15” x 15”
“THE LIVING AND THE INERT MERGE TO EXPLORE THE SYMBIOTIC RELATIONSHIP OF THE BODY AND OBJECTS.”
Karla Herencia “ARTIFICIAL BIOLOGY 3” 2013 Soft sculpture ( Plastic, fabric, thread and paint). 59” x 15” x 15”
“TEXTILE TRANSFORMATION AND CAMOUFLAGE.”
Daniela Meneses “SEARCH FOR THE SUN” 2013 – 2014 Stenciled printed loom weaving. 3 5 . 4 ” x 2 7. 5 ”
“NATURE’S CHAOS IS OF A HIGHER ORDER.”
Dunia Molina “ CHAOS” Free weaving with sisal thread and dry leafs. 24.4” x 24.4”
“RAISE AWARENESS OF ARTISAN FISHERY’S ENVIRONMENTAL BENEFITS AND ITS DANGER OF EXTINCTION.”
Dunia Molina “ARTISAN FISHERY” 2013 – 2014 Macrame. 1 2 . 5 9 ” x 4 7. 2 ”
“THE BURLAP SACKS, THE RED COFFEE BEANS, THE KERCHIEF ON THE HEAD. ALL THESE THINGS BRING THE COFFEE FIELD TO MY MIND.”
Silvia Monge “COFFEE FIELD” 2013 Mixed media, ceramic, cotton fabric, sisal threads. 19.6” X 33.8”
“METAMORPHOSIS THAT CONFRONTS THE HABITAT THAT WE DRESS AS A PIECE OF CLOTHING , VULNERABLE TO TIME. TRANSFORMATION THAT GIVES RISE TO A HABITAT FOR NEW FORMS OF LIFE.”
Carolina Parra “ H A B I T H A B I TAT ” 2013 Rust dyeing over rotten cotton fabrics, raw wool and other natural fibres applications. 11.4” x 11.8” x 10”
“¿HOW MANY BORDERS SURROUND OUR EXISTENCE? ARE THEY IMPOSED OR SUBJECTIVE CREATIONS? FEELINGS OR REALITIES? “
Marianela Salgado “ W H E N T H E B O R D E R S U F F O C AT E S ” 2013 – 2014 Hand felted 51” x 33.4” x 1.9”
“CONFRONTATION BETWEEN THE ESSENCE AND THE PRESENCE OF SOMETHING OR SOMEONE WHO IS NO LONGER THERE, THROUGH A RIFT BETWEEN THE PLANES OR PROCESSES OF LIFE.”
Gloriana Sánchez “ I M M U TA B I L I T Y ” 2013 Ty e d y e i n g , s c r e e n p r i n t i n g , e m b r o i d e r y w i t h synthetic and cotton threads, direct application o f p i g m e n t s a n d p a i n t s . 35.4” x 30.7”
“ “MATILDA “ MEANS STRENGTH AND POWER. THIS FORCE WE MUST GET FROM OUR DEEPEST AND INNERMOST BEINGS TO BE ABLE TO GIVE LIFE TO OUR PLANET BY RECYCLING, REUSING, AND, ABOVE ALL, CARING FOR IT. “
Iris Terán “ M AT H I L D E ” 2014 Fused glass, recycled wine bottle pieces joined with wires. 9” x 5.5”
“THE COMING AND GOING OF DREAMS IS REPRESENTED BY THE REPEATED WEAVES OF THE FABRIC ON THE LOOM.”
Celita Ulate “BETWEEN DREAM AND DREAM” 2014 Saori loom weaving with ribbons and fabrics. 10” x 37”
“THERE ARE WOUNDS THAT LAST OVER TIME AND INTERWEAVE THEMSELVES IN OUR FEELINGS.”
S t e l l a Va l e n c i a “THE WOUND” 2012 – 2013 Silver and gold threads over silver frame and m o u n t e d o v e r a j u t e w e a v i n g . 7. 4 ” x 2 . 7 ” x . 3 9 ”
“WHEN THE FRAGILITY AND WARMTH OF SILK THREADS ARE JOINED WITH COLD METAL A RELATIONSHIP OF PASSION AND PAIN ENSUES IN OUR FEELINGS.”
S t e l l a Va l e n c i a “ T H E S H A D O W O F T H E PA S T ” 2012 - 2013 Silver threads woven over a silver frame covered with gold. Rutilated quartz mounted on jute fabric 4.5” x 1.5”
“SHADOWS, NOTHING MORE, BETWEEN THE WARP AND WOOF; SHADOWS, NOTHING MORE, BETWEEN YOUR LIFE AND MINE.”
S t e l l a Va l e n c i a “TOUCHING IS FORBIDDEN” 2011 Silk cord knitt and silver accesories. 8.2” x 1.5”
“MY WORK EXPRESSES MATERIAL TRANSFORMATIONS AND MENTAL STATES THAT PASS THROUGH FILTERED PROCESSES, FROM THE RAW TO THE PROCESSED, FROM WHAT IS NATURAL TO WHAT IS INDUSTRIAL.”
Xavier Villafranca “ S P I N N I N G A C L O U D FA C T O R Y I N M Y M I N D ” 2013 Weaving , polyester and wool huichol, p e r f o r a t e d a c r y l i c b o x g l a s s t u b e s . 9.4” x 9.4” x 19.68”
“MEMORIAL FOR JAIRO (ASSASSINATED PARK RANGER)”
Lorena Villalobos “LOOKING FOR JAIRO” 2014 Cut and sewn fabrics, variable dimensions. 3 7. 4 ” x 2 9 . 5 ”
“OUR FIRST PARTNERSHIP WITH CLOTHES IS SHELTER, ELEGANCE AND EVEN IDENTITY AND STATUS. HOWEVER, WITH JUST CHANGING THE MATERIAL, IT CAN BE CONVERTED INTO PERSONAL ARMOR.....”
Magreet Wielemaker “ R A I N C O AT ” 2013 3 – D Hand construction with aluminum foil, fabric, buttons and screens. 9.8”x 9.8” x 18.8”
“OUR FIRST PARTNERSHIP WITH CLOTHES IS SHELTER, ELEGANCE AND EVEN IDENTITY AND STATUS. HOWEVER, WITH JUST CHANGING THE MATERIAL, IT CAN BE CONVERTED INTO PERSONAL ARMOR..... ”
Magreet Wielemaker “IMPENETRABLE” 2013 – 2014 3-D Hand construction with copper wire and b r o n z e r e c y c l e d m e s h . 9.8”x 9.8” x 18.8”
“OUR FIRST PARTNERSHIP WITH CLOTHES IS SHELTER, ELEGANCE AND EVEN IDENTITY AND STATUS. HOWEVER, WITH JUST CHANGING THE MATERIAL, IT CAN BE CONVERTED INTO PERSONAL ARMOR.....”
Magreet Wielemaker “Imperturbable” 2014 3-D Hand construction with bronce, iron and phone wires. Artificial turquoise and pieces of biscuit cans. 9.8”x 9.8” x 18.8”
The group of artists from the exhibition “Textiles on the Edge” wants to thank the Cultural Affairs Officer (CAO) of the Embassy of the United States of America, Ms. Beverly Thacker, her assistant Gabriela Bolanos, and Manuel Arce, Cultural Director of the Costa RicaNorthamerican Cultural Center for their efforts in bringing the the jurors, Susan Taber Avila and Marci Rae McDade to Costa Rica .Ms. Avila and Ms. McDade were the special guests of this activity and we are grateful to them for their participation in this project. The artists also want to extend their thanks to the other jurors, Ma Enriqueta Guard, Hugo Pineda, and Juan Diego Roldán, Visual Arts Coordinator for the Sophia Wanamaker Gallery, for their support and confidence in the project. The artists are very appreciative of Juan Diego’s dedication and meticulous attention to detail during the installation process, Jose Maria Calvo and Francisco Ramirez of the Marketing Department for their efforts in national publicity for the event, and finally Johana Avendaño from administration for her support.
CREDITS AND CONTACTS
PAULINA ORTIZ, Project Director paulina@paulinaortiz.com
MIEMBROS DEL JURADO:
JUAN DIEGO ROLDÁN, President Of The Jury (CR) HUGO PINEDA ( CR) MA. ENRIQUETA GUARDIA (CR) MARCI RAE MC DADE ( USA) SUSAN TABER AVILA ( USA)
ARTISTS
MARICEL ALVARADO HETTY BAACK OSCAR CARMONA EMILY GASSEMHEIMER MARIA GUZMAN KARLA HERENCIA DANIELA MENESES DUNIA MOLINA SILVIA ELENA MONGE CAROLINA PARRA MARIANELA SALGADO GLORIANA SANCHEZ IRIS TERAN CELITA ULATE STELLA VALENCIA XAVIER VILLAFRANCA LORENA VILLALOBOS MARGREET WIELEMAKER
nelasalgado@hotmail.com hendrika.baak@gmail.com ocarmona@racsa.co.cr emily@emilys-studio.com holatextil@yahoo.com kherencia@hotmail.com danymeneses05@gmail.com duniamolina@gmail.com semstudio@hotmail.com caropar@gmail.com maricelalvarado@gmail.com gsartediseno@gmail.com yiyiteran@hotmail.com celita.ulate@g.lumiesencia.com stellavalencia@icloud.com xvillafranca@gmail.com lovillalobos@yahoo.com mwielemakerpostma@gmail.com
MUSEOGRAPHY:
JUAN DIEGO ROLDÁN
juandiego.roldan@gmail.com
PHOTOGRAPHY
Photographs of Herbert Bolaños done by RODRIGO RUBÍ rodrigorubi@hotmail.com Photographs of art pieces of the participant artists done by JULIO CESAR SEQUEIRA julio@juliosequeira.com
DESIGN AND DIAGRAMATION: FABIO CASTRO
fabiocs10@gmail.com
2014