18cy Memoria Andina, Carolina Yrarrazaval, linen and cotton, 54.25" x 25.25", 2019, $9,400
17jy Amazonas, Carolina Yrarrázaval, yute, jute, raffia and silk, 35.5” x 39.25”, 2017, $14,000
16jy Amanecer, Carolina Yrarrázaval, hemp, linen, 36” x 39.25”, 2016, $16,000
14cy Pareja II, Carolina Yrarrázaval, cotton, jute, linen, 88.5" x 44", 2008, $20,000
Full image view on left, Detail image view on right
13cy Brocado Verde, Carolina Yrarrazavel, linen, silk, 21.375" x 17.75", 2011, $4,800
Full image view on left, Detail image view on right
1cy Azul Y Negr, Carolina Yrarrázaval, rayon, cotton, 116" x 40.5"; 294.5cm x 102cm, 2003, $20,800
4cyr Azul, Carolina Yrarrázaval, handwoven, linen, 76" x 21", 2008 , $12,800
3cry Brocado en Rafia, Carolina Yrarrázaval, handwoven, linen, raffia, 51.5” x 32.25”, 2009, $14,400
Full image view on left, Detail image view on right
5cyr Brocado en Lino, Carolina Yrarrázaval, handwoven, linen, cotton, 56" x 24.5", 2009, $12,800
6cyr Tonos Rojos, Carolina Yrarrázaval, handwoven, linen, hemp, 56" x 21.5", 2009, $11,200
7cyr Rojo, Carolina Yrarrázaval, handwoven, linen, hemp, 77, " x 23.5", 2007, $8,000
Selected collections and exhibition venues:
National Museum of Fine Arts, Santiago Chile (Shibori in Contemprary Art); Interamerican Bank Gallery, Washington, D.C.; Pre-Columbian Arts Museum, Santiago, Chile; Le Recoleta Cultural Center, Buenos Aires, Argentina; Central Museum of Textiles, Lodz, Poland (International Triennial of Tapestry); Graz, Austria (International Textile Symposium); Goethe Institute, Santiago, Chile; Montevideo, Uruguay (Latin American Mini-Textile Exhibition); Valparaiso, Chile (Concurso de Arte Joven); Havana, Cuba (IIIrd Havana Biennial); Chilean Consulate Gallery, New York, New York.
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http://www.yrarrazaval.com/home.html Textiles of Carolina Yrarrázaval Museum of Fine Arts, Santiago, Chile, 2003 Text by Sheila hicks |
8cyr Mineral II, Carolina Yrarrázaval, handwoven, linen, cotton, 77" x 23.5", 2001, $12,000
Statement:
Throughout my entire artistic career I have devoted myself to investigating traditional textile techniques from diverse cultures, especially Pre-Columbian techniques, trying to adapt them to my creative needs. Abstraction has always been present as an aesthetic aim, informing my choice of materials, forms, textures and colors. The simple proportions are guided by an intuitive sense that avoids the use of mathematical formulas.
There is neither message nor interpretation. This simplification and freedom from conceptual constraints combine to reveal a language that conjures up other impressions, such as emptiness and the need for austerity and sensuality, silence and aloneness.
