News

The Fondation will be exceptionally closed on the 22nd, 25th, and 26th of July. However, it will be open on the following dates:

  • 23rd July: from 11 am to 8 pm
  • 24th July: from 11 am to 8 pm
  • 27th July: from 10 am to 6 pm
  • 28th July: from 10 am to 8 pm

SHEILA HICKS – ATTERRISSAGE

Hors Les Murs

© Sheila Hicks / Adagp, 2024, Courtesy of the artist and Galerie Frank Elbaz Photo credits: © Raphael Fanelli

Date
From 30.04.2024 to 08.09.2024
Place
Espace Louis Vuitton Séoul
454 Apgujeong-ro, Gangnam-gu
Seoul 06015 Korea
Phone
T. +82 2 3432 1854
Hours
Monday to Sunday from 12 p.m. to 7 p.m.

The Espace Louis Vuitton Seoul is proud to dedicate its sixth show to the oeuvre of American artist Sheila Hicks.

Born into a family of merchants with diverse roots – Scottish, Dutch, Welsh, Cherokee, Sheila Hicks enrolled at Yale University in 1954, where she took classes with the likes of historic Bauhaus figure and famed colour theorist Josef Albers, as well as with George Kubler, a historian specialising in pre-Columbian art. This education would lastingly encourage her to persevere on her chosen artistic path, that of creating textile works that brought down the barriers between fine arts and applied arts.

In her own practice, while she was creating small, abstractexpressionistic paintings, she produced her first Minimes in 1956, tiny weavings that served as testing grounds for her future creations. She travelled through Latin America in 1957-58 to deepen her knowledge of weaving and embroidery techniques, then spent a year in France, where she met Raoul d’Harcourt, a specialist in pre-Inca textiles whose writings would have a decisive influence on her final dissertation.

Hicks’s work is in dialogue with the architecture surrounding it. This proclivity was sparked during her student years in modernist architect Louis Kahn’s classes at Yale, then intensified during her residence in Mexico, where she befriended the architects Félix Candela, Mathias Goeritz, and Luis Barragán. Over time it came to profoundly inform her practice, and led to projects with Eero Saarinen, Warren Platner, Gyo Obata, SOM, Kajima, Junzo Sakakura, Nikken Sekkei, Theo Crosby, and Kevin Roche, among others.

In the mid-1960s, after four years in Mexico, she moved to Paris and has lived there ever since, continuing her research at the crossroads of art, design and decoration. In her seamless blend of modernism, abstraction and extra-Western traditions and savoir-faire, her sculptures and environments composed of wool, nylon, silk, linen or cotton sometimes merge with utilitarian objects, such as clothing, and can also become functional themselves, establishing spaces in which visitors are invited to wander, lie down and lounge.

ATTERRISSAGE

© Sheila Hicks / Adagp, 2024, Courtesy of the artist and Galerie Frank Elbaz Photo credits: © Raphael Fanelli

Whether they are stacks of large fibre bales, cascades of colourful creepers, columns of pigmented threads or even wool-wrapped flexible tubes, her works give pride of place to the materials that dictate their forms. Her pieces are subject to the laws of gravity and determined by the architecture of the spaces exhibiting them, hanging vertically and bending horizontally when they touch the ground, works that are erected and stabilised by virtue of their own weight, in a spectrum of colours that modify one’s perception of the space they inhabit. Hicks refuses to give her works any fixed and definite form, creating them in a spirit of free experimentation that evolves with the weaving process, with no other purpose than its own existence. Her ductile, labile sculptures prefigure the Anti-Form and Post-Minimalist movements that made extensive use of textile.

Sheila Hicks

Sheila Hicks (b. 1934 in Hastings, Nebraska) received her BFA (1957) and MFA (1959) degrees from the Yale School of Art, when Josef Albers presided there. Awarded a Fulbright scholarship to paint in Chile, she photographed indigenous weavers and archaeological sites throughout the Andes. This, along with extended trips to the volcanic region of Villarrica, the island of Chiloé, and Tierra del Fuego, continue to influence her work to this day. In 1967 she established a studio in the quartier Latin in Paris, where she continues to live and work.

Hicks’s recent solo exhibitions include Sheila Hicks, Contemporary Art Museum of St. Louis, Missouri (2015), Foray Into Chromatic Zones, Hayward Gallery, London (2015), and Bâoli, Palais de Tokyo, Paris (2014--15). Her major survey in the United States, Sheila Hicks: 50 Years, debuted at Addison Gallery of American Art, Andover, Massachusetts (2010), and travelled to the Institute of Contemporary Art, Philadelphia (2011) and the Mint Museum, Charlotte, North Carolina (2011). Hicks’s work has been widely exhibited in major group exhibitions, including the Whitney Biennial, Whitney Museum of American Art, New York (2014), Thread Lines, Drawing Center, New York (2014), and Fiber Sculpture: 1960– Present, Institute of Contemporary Art, Boston (travelled to Wexner Center for the Arts, Columbus, Ohio, Des Moines Art Center, Iowa, in 2014-15) and Wow! Woven? Entering the (sub)Textiles, Künstlerhaus, Graz (2015). Following her exhibition Predestined Colour Waves at the Espace Louis Vuitton München (2015--16), she will have a solo show at Joslyn Art Museum, Omaha, Nebraska (2016). Hicks will also participate in the 20th Biennale of Sydney (2016), Glasgow International (2016), and the Hangzhou Triennial of Fiber Art, China (2016).

Hicks has created monumental site-specific works for New York’s Ford Foundation Headquarters (1967, recreated 2013--14), King Saud University in Riyadh, Saudi Arabia (1983); the Federal Courthouse in New York (1986), the Institute for Advanced Study in Princeton, New Jersey (2008); and the Duke Endowment in Charlotte, North Carolina (2015); among others.