Brazilian Fiberart & Fibersculpture in the 70´s & 80s.
In Brazil the evolutionary process that transformed the works of Fiber as medium in Sculptures started with the influence of artists that had opportunity to study in other countries, mainly European. This was the case of French Jacques Douchez that adopted São Paulo as his home town (1947-). Douchez paintings participated of the Special Room in the XI International Biennial of São Paulo (1971); in the same year he received the State Governor Prize, in Tapestry; he received the Art Critic Prize for the Best Exhibition of The Year (São Paulo, 1973). Douchez Fiberart participated in the most important national exhibitions of tapestry as the 1st Brazilian Exhibition of Tapestry [Primeira Mostra Brasileira de Tapeçaria] (FAAP, São Paulo, 1974).
Douchez received the 1st Prize in the I Triennial of Tapestry (MAM, São Paulo, 1976); he participated of the II and III Triennial of Tapestry (MAM, São Paulo, 1979; 1982). Internationally he participated of the Biennial of Punta del Este (Uruguay,1967). Douchez Fiberart participated of the VII BIT – International Biennial of Tapestry (Lausanne, 1975); exhibition in C.R.E.A. (Paris); the First Encounter of Tapestry Uruguay - Brazil (Montevideo, 1975); in Fiberworks (Cleveland, 1977). His works had individual exhibitions in Peru, Mexico United States, Portugal, Argentina, Germany, and in the most important Brazilian Museums and Cultural Institutions. Douchez also made sculptural works, using metal as basis for Fibersculpture in his personal style.
Since the 1970’s reached space Brazilian noted artist Zoravia Bettiol (Porto Alegre, RS, 1935-). Bettiols’s works in Fiberart and Gravures belongs to the most important international museums, as the Textilmuseum Max Berk (Heidelberg); the Museo del Grabado (Buenos Aires); the Albertina Museum (Wien); the National Library (Paris); the Museum Ugo de Carpi (Italy); the Museum of Modern Art (Kyoto, Japan); the National Museum Warsaw (Poland); the National Gallery of Prague; the American Museum of Maldonado (Uruguay); the Library of Congress (Washinghton, D.C.); the Art Museum of Indianapolis; the MoMA, the Metropolitan Art Museum and the Brooklyn Museum (New York); and the Casa de Cultura Laura Alvim (Rio de Janeiro, RJ); the MASP, the MAM, the FAAP Museum, the Pinacoteca do Estado de São Paulo, the Centro Cultural Itaú (São Paulo, SP); the MARGS (Porto Alegre, RS); the Museu de Arte de Belo Horizonte (MG), among many of the most important Brazilian cultural institutions.
Another Brazilian artist that reached space with her Fiberart was Ana Norogrando (Cachoeira do Sul, Porto Alegre, RS). During more than two decades she was a teacher of University of Santa Maria (RS). In the 80´s she started her research with galvanized mesh and wire, applying textile techniques to it, making hand embroidery with wire. The choice of material and the research developed b the artist, in a few years of a coherent trajectory in Fiberart, took her work from plane to space. After creating Fibersculptures, Norogrando formed Fibersculptures Installations of two or more elements; she reached space with wind sculptures, that now participate of the ornamentation of public Brazilian spaces: she became one of the most respected artists in Brazilian Fiber Culture.