[Sarah Hinckley, Possibilities at the Door, 2012, oil on canvas. dm contemporary.]
[Sarah Hinckley, Say the Word and You'll be Free (3), 2012, watercolor and gouache on
Fabriano paper. dm contemporary.]
[Sarah Hinckley, Seasons of My Life (6), 2012, watercolor and gouache on Fabriano paper. dm contemporary. The artist's show continues through November 9.]
Whenever I've spent some time looking at Hinckley's pieces, I tend to start seeing horizontal bands everywhere.
For example, the hand-woven Sorbet stripes in Proud Mary's pillow and rug.
Both were crafted in Guatemala and represent a contemporary spin on centuries-old Central American weaving traditions. Below are a few older examples.
[20th-century Guatemalan cotton textile presented to The Met in 1953 by Edna S. Brodie.]
[This 20th-century cotton and wool Guatemalan piece was also given to The Met in the 50s by Mr. E. L. Waid.]
Museums with exceptional collections of Guatemalan textiles are generally thought to include MARI at Tulane (Middle American Research Institute), Pitt Rivers, and, not surprisingly, the V & A. British archeologist Alfred P. Maudslay bequeathed to the V & A his 19th-century Guatemalan weavings.
[Warp-faced plain weave cotton sash, Guatemala 1875-1890. Maudslay Collection at V & A.]
[Huipil panel, woven cotton brocaded with cotton, wool and silk, Guatemala 1875-1890.
Maudslay Collection at V & A.]
[Image via Dorothy Sloan Rare Books.]
[Images via High Street Market.]