Abstract

ABSTRACTThis article examines works by the American-born, Paris-based artist Sheila Hicks and her sense of the universal communicability of thread. Hicks bridges cultures and resists simple identification with any single nationality, media, or art historical paradigm. For these reasons and others, it is timely to examine her work and its relevance for pluralistic, feminist thought. The article situates Hicks in relation to Sarah Ruhl’s 2008 play Eurydice, to Heidegger’s essay “The Origin of the Work of Art,” and to ideas about identity, borders, loss, and language. Hicks’s textiles and soft sculptures fall within a modernist, Bauhaus-inflected framework, but her ongoing experiments with colored lines, weaving, and installation show the way toward a tactile and sensory conception of language. As an artist whose practice revolves around entanglement, she reminds us of the infinite ways in which lineages cross and intersect, and she alerts us to foundational, material commonalities we share in our reliance on threads as clothing and protection. Placing Hicks and Ruhl alongside one another for the first time, the article shows the degree to which two women from different generations challenge overly narrow and too-often patriarchal definitions of what it means to speak, to listen, to grieve, and to remember. Hicks, through her fiber works, and Ruhl, through her reimagining and voicing of Eurydice, invite us to experience language as something porous, precarious, and deeply embodied. Together they demonstrate the value of crossing lines and learning to listen for the unspoken or the unspeakable.