Much of Carolina Jimenez’s work incorporates Oaxacan cotton that has been hand-dyed there. She also does natural dyeing herself with materials cochineal, tea, or avocado. With natural color, there is always an unpredictability which offers an intrinsic sense of discovery to the production of the work.
Through the weaving process, there is a moment where the piece goes through a transition that is beyond the artist's control; it's taken it off the loom and it is somehow completely changed. Jimenez often uses different fibers under different levels of tension, the result being that there is one set of warps that’s really loose and another that’s tight, creating drapes or billows. Jimenez thrives in responding to the limitations of the material and her own creativity.
Textiles carry great importance for Jimenez because of the labor that is imbued into them, and the way we often view textiles in general as disposable. We’ve been divorced from understanding means of production; someone had to grow your cotton or your linen or the plants that are used to dye them. There is so much labor that’s built into the material itself and that’s is another reason that she has chosen textile as her medium, it’s connected to this struggle.
Through the weaving process, there is a moment where the piece goes through a transition that is beyond the artist's control; it's taken it off the loom and it is somehow completely changed. Jimenez often uses different fibers under different levels of tension, the result being that there is one set of warps that’s really loose and another that’s tight, creating drapes or billows. Jimenez thrives in responding to the limitations of the material and her own creativity.
Textiles carry great importance for Jimenez because of the labor that is imbued into them, and the way we often view textiles in general as disposable. We’ve been divorced from understanding means of production; someone had to grow your cotton or your linen or the plants that are used to dye them. There is so much labor that’s built into the material itself and that’s is another reason that she has chosen textile as her medium, it’s connected to this struggle.
Carolina Jimenez is a Mexican-American artist, born and raised in San Diego and currently based in Brooklyn, NY. Both of her parents are from Chiapas and she came to weaving after studying architecture. For her, weaving is a way to get in touch with and respond to the folk traditions that are happening in Chiapas, which she sees herself separated from, identity-wise, because of not growing up there. She seeks to find a way to speak to that tradition but find her own language with it.
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Our typical framing practice is to float mount prints with 1-inch (2cm) of space around the print. This is a method of framing that keeps the art fully visible in the frame and leaves the edges of the cotton papers exposed. A spacer is added to the frame to keep the artwork from touching the plexiglass. Float mounting requires adhering the print to an acid free foam core back or mat board using acid free linen tape.
UV-filtering plexiglass is used for all frames, an option that has become the industry standard. Plexiglass is lighter, scratch-resistant & shatter-resistant (essential for shipping). It also provides more UV protection and less glare than glass.
Please note that Premium Framing options are currently only available to US clients. For clients in Australia, please email us and we can share framing recommendations based on your location. More information about Custom Framing
UV-filtering plexiglass is used for all frames, an option that has become the industry standard. Plexiglass is lighter, scratch-resistant & shatter-resistant (essential for shipping). It also provides more UV protection and less glare than glass.
Please note that Premium Framing options are currently only available to US clients. For clients in Australia, please email us and we can share framing recommendations based on your location. More information about Custom Framing
