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Consuelo Jimenez Underwood: Threads from Border-landia

Past exhibition
November 17, 2022 - February 18, 2023 New York City
Consuelo Jimenez Underwood, Four Xewam, 2013
Consuelo Jimenez Underwood, Four Xewam, 2013
Consuelo Jimenez Underwood, Four Xewam, 2013

Consuelo Jimenez Underwood American, b. 1949

Four Xewam, 2013
Tapestry and exposed warp. Silk, linen and cotton threads; leather barbed wire; cotton fabric
96 x 18.5 in
243.8 x 47 cm

Further images

  • (View a larger image of thumbnail 1 ) Consuelo Jimenez Underwood, Soaring: American Landscape, 2022
  • (View a larger image of thumbnail 2 ) Consuelo Jimenez Underwood, Soaring: American Landscape, 2022
  • (View a larger image of thumbnail 3 ) Consuelo Jimenez Underwood, Soaring: American Landscape, 2022
Consuelo Jimenez Underwood has consistently described her work as covering difficult topics while being technically tight and aesthetically beautiful. Four Xewam, or four “flowers” when translated from Yaqui, is an...
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Consuelo Jimenez Underwood has consistently described her work as covering difficult topics while being technically tight and aesthetically beautiful. Four Xewam, or four “flowers” when translated from Yaqui, is an excellent example of this. Featuring the southern border state flowers–California poppy, Arizona saguaro, New Mexico yucca, and Texas bluebonnet–each vibrant scene is severed with leather barbed wire which depicts the U.S.-Mexico border. Jimenez Underwood uses beauty as a strategy to discuss crucial t border subjects such as violence, the separation of families, and ecological destruction, but doesn’t describe border subjects as monolithic either. Stories of survival and growth along the border carry equal importance and cause for reflection.

"The series Sun Set/Rise CA #1-4 (2011) and the tapestries Four Xewam (2013) embody the joy at the core of Jimenez Underwood's artistic practice and were created solely on a loom. These brightly colored floral pieces are playful, yet they have visible references to the border, with the borderline running through them. The barbed wire representing the border in these pieces is constructed using leather. Rather than sewing the barbed wire on top of the weavings, as in her flag series, Jimenez Underwood weaves the barbed wire into the tapestry as if it had been consumed by the spirit." Maria Esther Fernandez, “Consuelo Jimenez Underwood: Welcome to Flower-Landia”, Triton Museum of Art, 2013
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Exhibitions

Consuelo Jimenez Underwood: Threads from Border-landia, Ruiz-Healy Art, New York, NY, 2022
Consuelo J. Underwood: Thread Songs from the Borderlands, 108 Contemporary, Tulsa, OK, 2018
Consuelo Jimenez Underwood: Welcome to Flower-Landia
, Triton Museum of Art, Santa Clara, CA, 2013

Literature

Laura E. Perez and Ann Marie Leimer, eds., Consuelo Jimenez Underwood: Art, Weaving, Vision, Durham, North Carolina: Duke University Press, 2022, between pages 160-161 (illustrated)

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Ruiz-Healy Art, San Antonio

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