Word: sulca
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Dates: during 2002-2002
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...Sulca was one of three artists out of more than a hundred whose submitted work was chosen for display this year at the David Rockefeller Center for Latin American Studies. According to exhibit curator and third-year graduate student Jose Luis Falconi, the Rockefeller Center gallery seeks to expand common conceptions of the scope of Latin American...
Stepping into a room hung with Sulca’s tapestries, you’ll first notice your eyes being pulled in all sorts of directions: backward, forward, in spirals and in steps. Sulca emphasizes depth and movement, and every tapestry has its unique geometry. In “Folding the Past,” a panel of colorful cloth cuts through the top half of the black background and then starts to fold like an accordion at the bottom. The series “Past and Future in ‘S’” consists...
...major aspect of Sulca’s response to modern violence is the revival and vindication of culture. Sulca seems to be in constant dialogue with Inca and Aymara weaving traditions, which date back at least 1,000 years. He works in punto arwi, an Incan weaving technique revived by his grandfather Ambrosio in the 1920s and only uses hand-spun wool and native Andean dyes. With this technique, Sulca weaves together modern and ancient symbols. Some are easy to decipher: notes on a staff to represent music, for instance, and an easel signifies art in “Gracias...
Many of the tapestries in this exhibition have an accompanying story, song, or poem. The closest Sulca gets to literalism is probably “Weaving Life,” which uses the legend of the spider-storyteller to depict the major events of Peruvian history as symbols in a web. In this tapestry the correlation between the story and the symbol is clear and beautifully executed—but not as compelling as when Sulca uses symbols to build a metaphor. Such is the case in “For a Better World,” based...
Woven Testimonies: The Andean Tapestries of Edwin Sulca...