22 groupings of varying sizes and heights, the pieces are covered on the front in gold leaf and, when they catch the light, cast a gold glow upon the immediate surroundings. The backs of the pieces are painted mostly in gray, reminiscent of the stones that inspired the form. Reflecting on the trajectory of her work, Amaral recalls, “During the early and middle years of my career, color was bound to fiber. Fiber was the medium for color and, for this reason, color was limited by the textile processes of weaving and dyeing.” Over time, however, she freed herself from the traditional rules of fiber by employing gold leaf and painting directly onto the work’s surface. By doing so, Amaral gained immediacy and intensity with color, allowing her to “change the physical, three-dimensional traits of fiber itself.” As she explains, “I could make each string thicker, I could make clumps of fibers or Figure 8 Detail of the installation of the stone Estelas (Stelae) at the Amaral country house outside of Bogotá.