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Interview with Sheila Hicks

Since the show in 1969 in our museum where we saw your work what have been the most important developments for you?

- I've worked in North Africa and visited Black Africa. Islamic culture and architecture have permeated my imagery much like Andean (pre-incaic) culture and architecture earlier. Also I am trying to work with other artists. It is very difficult sometimes bordering on delirium.

How do you see the relationship between your work and functional textiles?

- There are no contradictions or separations in my thinking when creating textiles, tapestries, socks, wall hangings, hammocks, sweaters, wigs, bags, rugs or other 'thread-things'. Pure expression and the utilitarian often join in the most surprising moment. Ethnologists, archeologists and the Bauhaus have understood this.

How do you see the relationship between your work and the architecture?

- I weave miniatures: they can be displayed easily anywhere.
I weave and construct larger, voluminous pieces: they need walls, even entire rooms to be seen.
I mount bas-reliefs in thread: they are walls in themselves and must be accommodated in architecture.
I seek open spaces and enclosed buildings where I can try new experiences in fiber and textures and thread structures. I don't like to have my work in packing-crates and storage-closets. Working for architecture is therefore one solution for the moment and besides it is a challenge to make something for a defined area.

You have produced a lot of variations on the 'cord-theme': wrapped cords, hanging cords, stacked cords, braided and woven cords. Do you still see new possibilities?

- There are always more levels of the imagination to excavate. The cord idea seems limitless.

What is the meaning of colour for you? Do you got inspiration from it or do you give it a certain task?

- It all comes together instantaneously, mysteriously: form and colour.

Why do you move so often in form, in threads, change studios, countries?

- Curiosity! If you want to know yourself, go against your nature. 
I don't want to form deadening habits.

Do you think a creative woman has more problems or possibilities than a man in the same position?

- Once a person, man or woman, is creative, he becomes and exception and all exceptional people have problems in expression and communication and survival.

How do you see an exhibition in these days?

- I think of my works as a 'probe', a searching in an area of great historic density, sensual in its tactile qualities, intimate and elementary.
An exhibition, for me, is both a demonstration of my personal discoveries and a ritual or fête to celebrate a 'pause' and make contact with others. In this sense a museum serves as a meeting place, an arena, a public plaza. An exhibition allows each observer to note and compare his under-standing, pre-occupations and interests with mine on one or many levels.