| dc.description.abstract | This thesis aims to investigate the compositional elements of textile language from two aspects: interlace and texture. The expression "textile language" refers to a kind of language that, close to the notion of text by its common Latin root (the noun texere), holds significant differences from what we conceive as the language mediated by words in performances of speech, reading and writing. In the same way, despite its visual properties, the sensoriality of a textile also expands it beyond its own image. Based on these premises, the texture and the interlace are analyzed in five structures: the weft; the Inca quipu; the sprang; the tapestry, and the braiding, each one corresponding to a conceptual axis that guides the chapters. The structures, in turn, evoke a series of compositional elements, among which are: incorporation and translation, texturality and metaphor, spatiality and projection, recursivity and interchangeability of forms. The study of these elements is carried out based on the works of modern and contemporary artists such as Anni Albers (Germany), Cecilia Vicuña (Chile), Nury González (Chile) and Ximena Garrido-Lecca (Peru). Along with their works, fabrics belonging to the collection of the Chilean Museum of Pre-Columbian Art, films, ethnographic documentaries and literary texts are analyzed in this thesis. Our bibliography, interdisciplinary as is the textile, goes through authors such as Mary Carruthers, Tim Ingold, José Sánchez-Parga, Silvia Rivera Cusicanqui, Isabelle Stengers, Els Lagrou, Paul Zumthor, Rosalind Krauss, Ernst Gombrich, Yuk Hui and Michiko Okano, besides the textual production of the artists themselves. | |
