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The Fondation Cartier pour l’art contemporain presents the first major European retrospective of Olga de Amaral, one of the leading figures in Colombian and Fiber Art.
The exhibition combines nearly eighty works created from the 1960s to today, many of which have never been shown outside Colombia. In addition to her renowned gold leaf pieces, the show provides a rare opportunity to explore her early experiments with textiles and monumental works.
De Amaral’s practice has long pushed the boundaries of the textile medium. Drawing on a wide range of materials such as linen, cotton, horsehair, gold leaf, and palladium, she creates expansive, three-dimensional pieces through techniques like weaving, knotting, and braiding. Her work blends modernist principles, Latin American folk traditions, and pre-Columbian art, making her one of the key contributors to the development of Fiber Art alongside figures like Sheila Hicksand Magdalena Abakanowicz.
Among the standout works in the exhibition is “Estelas” (Stars), a series begun in 1996 that transforms woven cotton structures into gilded stelae. These works are coated in gesso and acrylic paint, then covered in gold leaf, which obscures any trace of the fabric beneath and gives them a glowing, almost sculptural presence. These abstract pieces reflect her deep engagement with color, materiality, and geometric form. Her fascination with gold is further explored in her“Brumas” (Mists) series, which began in 2013. These delicate, translucent textile sculptures feature simple geometric patterns painted directly onto cotton threads, evoking misty, atmospheric landscapes that invite the viewer to step through them, engaging with the space sensibly.
Another key work is “Bruma de Oro”(Mist of Gold), in which Amaral uses a combination of gesso, acrylics, and gold leaf to create a luminous surface that seems to float in space, embodying the interplay of light and texture. Like many of her other works, this piece evokes Colombia’s natural landscapes, such as the high plateaus of the Andes and the vast tropical plains, both of which have been significant sources of inspiration throughout her career.
Amaral’s work is also marked by her exploration of the Japanese kintsugi technique, which she learned in the 1970s from her friend, ceramicist Lucie Rie. This technique, which involved repairing broken objects with gold powder, influenced Amaral’s use of gold leaf, transforming the surface of her textile pieces into glowing, reflective planes.
The exhibition design by architect Lina Ghotmeh enhances the sensory experience of the works. On the ground floor of the Fondation Cartier, Ghotmeh has created a landscape of slate stones that connects the interior space to the exterior garden, grounding the works in a rugged, natural environment. Below ground, the use of spiral motifs mirrors the flowing, organic forms found in many of Amaral’s pieces, guiding visitors through the exhibition in a way that reflects the artist’s own weaving of textures and spaces.
Despite her international acclaim, Amaral’s work has rarely been shown in Europe, making this retrospective a unique chance to appreciate her contributions to contemporary art fully. The exhibition traces her career from her early studies at the Cranbrook Academy of Art in the 1950s, where she was introduced to textile art, to her pioneering role in the 1960s and 70s alongside other Fiber Art innovators. Amaral’s large-scale works often defy categorization, blending aspects of painting, sculpture, and installation, and this exhibition highlights her vital role in the artistic avant-garde of the late 20th century.
Her work has been held in significant collections worldwide, including the Tate Modern, MoMA, and the Art Institute of Chicago. Olga de Amaral remains a significant force in the evolution of modern art. This retrospective offers an in-depth exploration of her dynamic career, showcasing the full range of her visionary contributions to Fiber Art.
