With her work my eyes see a beauty metaphor, a collage of textiles with bonds that exemplify the cultures and unions of humans and practices transcending time, space and the mind. Its hard to describe what field Hicks works on; what this artist has been working for half a century represents an intersection between arts, crafts, architecture and design. Peru, Ecuador, Bolivia and Chile are among the countries where she has absorbed her knowledge and have influenced her weaving.
Hicks is a global artist who adopted the language of textiles as her primary medium and expanded it exponentially.
Monumental public commissions have occupied her since the mid-’60s have required complex studio setups and help of assistants: from her bas-relief medallion tapestries for the Ford Foundation headquarters in Manhattan (1966-67); to her wall hangings for a fleet of Air France 747s, stitched by hand in white silk (1969-77); to commissions for King Saud University in Riyadh, Saudi Arabia, (1982-85) and a cultural center in Fuji City, Japan (1992-93); to an immense linen-and-cork knot, some 20 feet high by 60 feet wide, for the corporate offices of Target in Minneapolis.
Hicks’s brilliantly colored loops, tangles, weaves, and tassels produce an instantaneous, visceral reaction.