In 2011, Brazilian artist Tatiana Blass pierced the walls of a Sao Paulo chapel with large masses of red yarn, letting the bright material trail into the surrounding grasses, landscape, and trees. The installation, titled Penelope, was named after Odysseus’s wife in Homer’s Odyssey, a character who kept herself away from suitors while he was at war by weaving a burial shroud by day, and secretly taking pieces of it apart at night.
Inside the chapel the work continued with a 45-foot-long carpet leading to a loom into which it was stuck. Immaculate on one side of the loom and in pieces on the other, strings of the dismantled rug traveled outside of the chapel through preexisting holes that made their way into the yard. The piece, just like the epic poem, leaves us to wonder whether the work is in a state of construction or unraveling, if the carpet is being built, or slowly torn apart.