Fig. 46 Olga de Amaral (Colombian, b. 1932). Geometric Play of Colors (Juego geométrico de colores), 1962. Wool, 35 ⼀欀 × 17 ⼀最 in. (90 × 45 cm). Private collection Referencing a checkerboard pattern, the vibrant turquoise demonstrated in Woven Gridded Wall #66 (Muro tejido grids in Interlaced in White and Turquoise (Entrelazado cuadriculado #66, 1970; fig. 49). In this massive, volumi- en blanco y turquesa, 1965; 昀椀g. 47) even tend a bridge to nous work made with heavy fibers such as coarse wool optical (Op) art. and horsehair, the interlaced elements use frame braid - 44 De Amaral expanded her practice with off-loom ing on a large scale. constructions. Her first trenzado (braiding), based on In 1972, De Amaral devised her signature tile tapestries. the crisscrossing of vertical plain-weave bands, dates De昀椀ned by the artist as her “words,” the tiles are rectangu- to 1966. This technique gives the impression that it was lar woven units of linen and cotton sewed to an underlying 45 made with multiple bands woven independently, yet they strip. Alchemy 13 (Alquimia 13, 1984; 昀椀g. 50) shows the are in fact woven to a split warp, as in Wall Hanging 1 modular rigor of this technique, which recalls tile roofs or (Muro tejido 1, ca. 1969; fig. 48), a work whose intricate complex layered systems like a bird’s plumage. Its surface structure accentuates the sculptural interplay of depth shines with the iridescent effects of gold leaf, a material and shadow. Prefabricating some elements allowed her the artist started to use in 1973 with the purpose of turning 43 46 to enter a dialogue with the architectural space, as textiles into “golden surfaces of light.” Indeed, De Amaral Fig. 47. Olga de Amaral. Interlaced in White and Turquoise (Entrelazado en blanco y turquesa), 1965. Wool, 51 × 19 ⼀挀 in. (130 × 50 cm). Private collection 42