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MARTHA CLIPPINGER

Textile | 2021

Through the support of a Fulbright grant, Martha Clippinger spent 2014 studying the Indigenous textile traditions of Oaxaca, Mexico. There she met weavers Licha González Ruiz and Agustín Contreras López of Teotitlán del Valle, a Zapotec village renowned for its woolen tapetes (Spanish for “rugs”) that are woven on upright pedal looms. The couple agreed to translate one of her designs into wool, and they’ve been working together ever since.

Size

74 1/2 x 51 inches

Materials

Hand-dyed woven wool, woven by Agustín Contreras López and Licha González Ruiz

Untitled

$5,800

MARTHA CLIPPINGER

Textile | 2021

Through the support of a Fulbright grant, Martha Clippinger spent 2014 studying the Indigenous textile traditions of Oaxaca, Mexico. There she met weavers Licha González Ruiz and Agustín Contreras López of Teotitlán del Valle, a Zapotec village renowned for its woolen tapetes (Spanish for “rugs”) that are woven on upright pedal looms. The couple agreed to translate one of her designs into wool, and they’ve been working together ever since.

Size

74 1/2 x 51 inches

Materials

Hand-dyed woven wool, woven by Agustín Contreras López and Licha González Ruiz

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Artsuite - Martha Clippinger - Vibrations - The relativity of color is central to all of Clippinger's work. By creating palette variations of the same woven design, she was able to explore different color combinations while paying homage to Albers and the Variant/Adobe paintings that he began on his sixth trip to Mexico in 1947.

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Artsuite - Martha Clippinger - Hex - The relativity of color is central to all of Clippinger's work. By creating palette variations of the same woven design, she was able to explore different color combinations while paying homage to Albers and the Variant/Adobe paintings that he began on his sixth trip to Mexico in 1947.

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Artsuite - Martha Clippinger - Vibrating Boundaries - The relativity of color is central to all of Clippinger's work. By creating palette variations of the same woven design, she was able to explore different color combinations while paying homage to Albers and the Variant/Adobe paintings that he began on his sixth trip to Mexico in 1947.

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