An update first on my health. The stenotic pain that I was feeling in my lower back when I walked has progress to my lower right leg. It limits me further on how much walking I can do. But, I did miss my gallery walks, so spent a couple of hours admiring the work of Pacita Abad.
The exhibition is on until January 19, 2025
The doorway entrance to the exhibit is painted with her ocean scene. Pacita (1946-2004) had a 32 year career that spanned a range of subjects and styles. She was born in the Philippines, but travelled to over 60 countries during her lifetime. Some of those works that reflect her travels are on display.
“Marcos and His Cronies”, 1985-1995, mixed-media painting.
She was an activist, a student demonstrator agains the ruling dictator Ferdinand Marcos. This piece is a great example of her hybrid art style “trapungere” (to embroider). She hand stitched, stuffed, embroidered to embellish her painted canvas. Marcos and his cronies are depicted as demons.
The facial images were inspired by traditional Sinhalese masks used for “tovil” (ritual healing). In Sri Lanka, Pacita learned these masks of demons symbolize various diseases.
“100 Years of Freedom: From Batanes to Jolo, 1998. Oil, acrylic, Philippine cloth (abaca, pineapple, jusi and banana fibers. Batanes cotton crochet Ilocano cotton Chinese silk and bead; Spanish silk; llongo cloth Mindanao beads; Zamboanga and Yakan handwoven cloth and sequins.
As you can read from the material description, a lot of work went into making these “pennants”. It represents a history of the Philippines – a country home to 182 ethnolinguistic groups.
Abad used bits of fabric she collected in her travels in the Philippines. It celebrates “the intertwined threads of its history”.
“Flight to Freedom”, 1980, acrylic, oil on canvas.
This is a large piece that moves you along the room. The 15 foot painting is from the Cambodian Refugees series. Abad hoped the painting would convey the struggles of displaced people.
“Watching and Waiting”, 1979. Oil on canvas. Women and children are the greatest sufferers in a refugee crisis.
“Water of Life”, 1980. Oil on canvas
A piece that exemplifies the resilience of human beings during crisis. This was inspired by a photograph taken at a refugee camp on the border of Thailand and Cambodia. The mother gently tilting the head of her child for a drink of water.
In the next gallery were huge masks hanging from the ceiling. The series is called Bacongo referencing the areas of the Republic of Congo and the Democratic Republic of Congo. Based on traditional masks that were used for fertility and peaceful transitions of power.
“Bacongo III”, 1986, acrylic, silkscreen, plastic buttons, mirrored glass, wool, ribbons, thread on canvas
Bacongo VIII, 1988. Acrylic, cowrie shells, plastic buttons, stitched mirrors, silkscreened and padded canvas.
“Bacongo VI”, 1986. I took this one from the side to get the chair in for perspective.
“Masks from Six Continents” – a commission from Metro Center in Washington D.C. The Metro Center is a major transit intersection where people from different countries daily cross paths.
“Oceana Mask (Dancing Demon)”, 1983/90 (left). Acrylic, cowrie shells on stitched and padded canvas. Represents Oceana.
“Mayan Mask”, 1990 (right). Acrylic, buttons, beads, mirrors, handwoven cloth, rickrack ribbons, sequins on stitched, padded canvas. This represents South America.
“African Mask” (Kongo), 1990. acrylic, coloured beads, shells, handwoven yarn, padded cloth, painted canvas on stitched cloth.
“Subali”, 1983/90 (centre). Represents Asia Acrylic, oil, gold cotton, batik cloth, sequins, rickrack ribbons on stitched and padded canvas.
“European Mask”, 1990 (right). Acrylic, silkscreen, thread on canvas
Not included in this exhibition is “Hopi Mask” representing North America. I realize I should have taken a photo of each one individually but my back and leg were in pain by this point.
Ah, you just have to love her for immersing herself in her art.
“Shallow Gardens of Apo Reef”, 1986. Oil, acrylic, mirrors, plastic buttons, cotton yarn, rhinestones on stitched and padded canvas.
“Pulang Buli off Batangas”, 1986. Acrylic, mirrors, buttons, cotton yarn on stitched and padded canvas.
“My Fear of Night Diving”, 1985. Oil, acrylic, cotton yarn, broken glass, plastic beads, buttons on stitched and padded canvas.
“Self-portrait”, 2003. 24-colour paper pulp, mixed-media collage on shaped, handmade STPI paper assemblage
I really enjoyed this one. I enjoyed to whole exhibit. I wish I could have run my hands over the art work. I’m sure Pacita would have approved. But it would have got me thrown out.
There was much more to see. I’ll go back in the new year before it closes.