Frequently remembered for her three-dimensional and installation-based works, created with symmetrically tensioned threads, she was the only printmaker of the Grupo Frente, which laid the foundations of the constructive movement in Brazil in the 1950s.
Between 1955 and 1959, the artist developed the woodcut series Tecelares (Weavings), in which the geometric rigor of the forms is intertwined with the natural lines created by the imprint of the wood grain.
Although less frequently featured in exhibitions dedicated to Pape, the series established formal ruptures that she would later pursue in her Neo-Concrete experiments, alongside figures such as Lygia Clark and Hélio Oiticica.
Nearly 70 years after their creation, the works gain renewed prominence with more than one hundred woodcuts—including previously unseen pieces—in the exhibition “Lygia Pape: Tecelares,” which opened on the 11th at the Art Institute of Chicago, one of the most renowned institutions of its kind in the United States.
WOODCUTS PRODUCED IN THE 1950s THAT ALREADY ANTICIPATED THE ARTIST’S PATHS WITHIN THE NEOCONCRETE MOVEMENT