Aurèlia Muñoz’s Águila Beige (Brown Eagle) is a part of MoMA’s exhibition “Taking a Thread for a Walk”, which highlights the impact and origins of textiles in art. The physical presence of this piece is commanding, despite its location in the corner of the exhibition.
Panels of jute and sisal compose a suspended, outstretched form that is comparable to a bird with its outstretched wings. Though lacking capacity for flight, the structure feels alive with its limbs free to sway if wind were to blow them. It is just as much fiber art as it is sculptural, with strong architectural influences. By not using a loom, Muñoz created these sculptural textile forms more freely. A sense of world-building comes with this piece, as its structure seems like it was created to engage with the space surrounding it, or that it was draped over some pre-existing structure. Throughout the panels, strong lines are knotted with the fibers which then create corners and angles, paths and intersections for the eye to follow. Despite these architectural qualities, the piece feels intimate due to its approachable scale and natural materiality. The artist’s hand is visible in the work with its subtly imperfect knotting and incongruent design. These details add to the intimacy of the piece, luring its viewers into engaging with the rich history of textile-making that this piece subverts.
I agree with your point on this "Eagle" establishing a sort of world. To me, the piece feels massive rather than intimate - almost commanding the force of the predator in its namesake. That being said, I'm eager to hear more about the specific method that Muñoz may have used if not a loom in order to make this piece.
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