Threewalls gallery is showing Diana Guerrero-Maciá’s exhibition, “The Uncertainty of Signs” from November 2- December 15, 2012. Maciá’s work consists of five large-scale collages, twenty-six smaller works, and a furniture piece.
Although Maciá uses many different materials, she used mostly felt in this collection of works. In the piece titled “Nomadic Future” (Figure 1), Maciá uses pieces of felt shaped as rainbows, stars, smiley faces, butterflies and hearts, along with big red x’s. In this piece and the rest of the works in the collection, there is a definite sense of connectivity. This piece has lines that intersect some of these symbols and other symbols are placed between the lines. Overall, there is a definite theme of lines in her work. Some of the other pieces also had similar connections. For example, another piece consisted of a grey background with red lines going off in several directions, with bits of black and white scrap felt added on the lower right corner. Again, the viewer is offered this sense of connectivity where everything inside the vicinity purposely connects or touches in some way.
One of the larger canvases appeared to be created on a type of cloth that was meant to be a sign. It has holes around all the edges as though it would be tied to a structure instead of placed on a wall. This piece contained very little color, except for the two small felt rainbows. There was also one black “x” or a cross on the bottom right corner. The other geometric pieces placed on the canvas seemed to resemble both the outlines and inner workings of an intricate spider web. This piece again conveyed the sense of connectedness because the web-like structures drew viewers’ eyes in towards the close center.
The twenty-six smaller pieces were titled “A-Z” because each tile was supposed to reference a letter of the Latin alphabet. This is not an easily observed purpose since the only actual letter portrayed is a red letter “a.” Mainly from these works, there was again the sense of connectivity and a sense of distortion. The distortion stemmed from the fact that a few of the textiles included photos that were altered or placed in an unusual way. One also portrayed part of a flower painting but was interrupted by paper and felt. Many of these textiles had multiple layers of material.
Another interesting thing about these twenty-six smaller works was that a lot of them also involved sewing and needlework. This is rarely seen anymore. There were several textiles that included felt being sewed both to other pieces of felt and paper as well. Many include themes of line, some with and some without vibrant colors palettes. The small textiles do not all have the same frame lengths or style but the collection is aesthetically pleasing because of the color palette and theme of lines.
The artist’s furniture piece, called Let x=x (Figure 2) very closely resembled one of the twenty-six smaller textiles in design. It appeared that the small textile was a blueprint for the construction of the furniture piece; however, two of the colored benches were switched around in order. This piece consisted of similar color shades as the rest of the works “thereby referencing the fabric in a physical, touchable way” (Sorkin). This shows viewers how Maciá changes up her work and isn’t afraid to play with designs and patterns. This again gives the audience that same sense of connectivity but instead of tying everything in one piece together, two pieces in the same room are connected.
Sorkin, Jenni. Diana Guerrero- Maciá’s Hand- Sewn Hard Edges. Chicago. Threewalls, 2012, print.