“I work every day,” she said. Hicks referred to her current show at the New York design gallery Demisch Danant, up through June 8, as a collection of “just things I’m making.” Upon seeing the works, I can say that this is an understatement. These “minimes,” offer a record of incessant making and exploration, weaving together threads, found objects, and materials such as petrified wood, raw silk, razor clam shells, and bits of copper.
The vibrant, seemingly spontaneous compositions reveal a more intimate, diaristic side of Hicks’s practice. Torsade II (2011), made from twisted paper torn from a magazine, has a wanderlust-inducing description: “Made on train to Beauvais.” Tagore Taeko (2010), described simply as “Made in Paris,” integrates goat hair with raw silk. Fenêtres Moss Saffron (1970), also made in Paris, at “Passage Dauphine,” resembles two rectangular woven pot holders in vivid green hues. Cukulcan (2018), in contrast, created while “Remembering Chile,” features a complex backdrop of red and purple threads, woven more tightly in some sections than others. Two lime green forms arise from the foreground, like protruding hills in an abstracted landscape.