"This is not art, it's a woman who embroiders at home." In the context in which
Madeleine Colaço began working with
fabrics , the artist and tapestry maker dealt with discrimination that sounded like this phrase, says her son, Jorge Colaço. Contrary to what the stigmatizing words said, Madeleine's
tapestries are considered works of
art worldwide, in addition to giving life to a revolutionary method of weaving, the so-called
Brazilian Stitch . In today's edition of
SP-Arte Rotas Brasileiras , Madeleine's masterpieces are on display alongside other important women in tapestry and visual arts:
Nara Guichon , known for her textile sculptures hanging from the ceiling, and
Gilda Azevedo , who used Madeleine's method to create abstract mural tapestry pieces. Below, discover the works and stories of these
3 artists on
display that await you this week at
SP-Arte .
Gate, by Madeleine Colaço
(Silvia Balady/Divulgação/CASACOR)
Mixing
colors , materials with different brightnesses and an original method that, years later, would be listed as
Intangible Historical Heritage by the City of Maricá, Madeleine Colaço left her mark on national tapestry. Using the
technology called Ponto Brasileiro, the tapestry artist developed works such as
Portão , made in the 1960s. "She transformed tapestry into a work of art due
to the quality and Brazilianness of her design . She was also a tremendous colorist, and she also developed a technology that is unique in the world", comments Jorge Colaço, Madeleine's son who, for many years, followed his mother's career closely. Madeleine's legacy goes beyond her artistic and aesthetic contributions to the world of fabrics
— the tapestry artist turned her work into a
tool for social transformation in
Rio de Janeiro . In the
Bangu penitentiary, Madeleine passed on her knowledge by teaching incarcerated women how to make rugs; and in the Espraiado neighborhood of Maricá, the artist made
an impact on socioeconomic indicators by expanding the prospects of many rural women. "She showed the importance of giving women jobs in the countryside. She used her own money to maintain a school in Espraiado, in Maricá, for 27 years. Later, an IBGE researcher called me and said that thanks to my mother's
studio , the HDI in Espraiado was the same as the HDI in the city center," says Jorge.
Embroidered Wool, by Gilda Azevedo
Inspired by Madeleine, Gilda Azevedo left her mark on the art of weaving by using Brazilian stitch to create the most famous works of
abstract wall tapestry . Using
earthy tones, grays and occasionally bright greens and whites, Gilda created tapestries that bring to life magical and inaccessible landscapes . According to Graça Bueno, curator and director of Galeria Passado Composto , "Gilda explores the great cosmic space, offering an experience that stimulates the intellect and intuition through a dynamic rhythm and a harmonious composition that represents creation and infinity." Unlike Madeleine and Gilda, Nara Guichon does not consider herself to be a tapestry maker: "I say that I make textile sculptures because few of my works are on the wall, most of them are hanging from the ceiling. Therefore, they are more like sculpture than tapestries, although the technique may be tapestry", explains the artist. Nara's works
— the only one still alive among the three
— are developed, according to her, from three elements:
texture , color and reused elements . Ocean trash is her main starting point: "My motivation is to show that this trash is not trash, it is just submerged. These nets are highly polluting, they are polyamide and oil", she states. According to the artist, the piece Refúgio , curated for SP-Arte, reflects "what is being done to the planet", as do all her other works, Nara emphasizes: "My work comes to cry out for the planet!" By connecting fabrics to environmental concerns, Nara has developed what she calls “ completely deconstructed knitting .” At the age of four, she learned to knit conventionally, and over time she has developed her own artistic expression, which translates into her current work; as the artist explains: “My creation comes from handling trash, which I often dye with onion skins, yerba mate, turmeric, and what ends up coming out is what comes out. It’s not a plan, it’s a spontaneous expression .” SERVICE: SP-Arte Brazilian Routes
28 August–01 September 2024 ARK: 360 - Vila Leopoldina (São Paulo - SP)
Schedules August 28: Guests 29–31 August: 12:00–20:00 September 1st: 12pm to 7pm
Tickets R$ 80 (full price) R$ 40 (half price)
Online ticket office 
