人类为了生存必须消耗地球的资源,而在这个过度消耗资源的时代,地球遭受了很大的破坏。我希望我的存在能够尽量减少对地球环境的负担。当我出生时,我就像宇宙中亿万颗行星中的一颗,只是太阳系中的一粒尘埃;当我离开时,尘土归尘,仿佛我从未来过。
作品ㄧ是婴儿床上的婴儿,代表我的诞生;
另一面是死亡时躺在床上的尸体,代表我的离去。我身边的表格记录了我出生和离开时对地球的影响。
创作媒介是用铅笔上色的,没有保护漆。希望以最简单的方式呈现,就像生命简单的存在一样。
人类为了生存必须消耗地球的资源,而在这个过度消耗资源的时代,地球遭受了很大的破坏。我希望我的存在能够尽量减少对地球环境的负担。当我出生时,我就像宇宙中亿万颗行星中的一颗,只是太阳系中的一粒尘埃;当我离开时,尘土归尘,仿佛我从未来过。
作品ㄧ是婴儿床上的婴儿,代表我的诞生;
另一面是死亡时躺在床上的尸体,代表我的离去。我身边的表格记录了我出生和离开时对地球的影响。
创作媒介是用铅笔上色的,没有保护漆。希望以最简单的方式呈现,就像生命简单的存在一样。
Human beings must consume the earth’s resources for survival, and in this era of excessive consumption of resources, the earth has suffered a lot of damage. I hope that my existence can minimize the burden on the earth’s environment. When I was born, like one of hundreds of millions of planets in the universe, I was just a little dust in the solar system; when I left, the dust returned to the dust, as if I had never been before.
The work ㄧ is a baby in a crib, representing my birth;
The other side is the body lying on the bed at the time of death, representing my departure. The form standing next to me records the impact on the earth when I was born and left.
The creative medium is colored with pencils, and there is no protective lacquer. It is hoped to be presented in the simplest way, like the simple existence of life.
Artist from Singapore
The colors on my box signify and represent my life. Blessed I am with the life I have. As much as it’s colorful and pretty, there are darker colors on there that represent the tough and difficult roads I had along the way. Losing friends that colored my life, using material that binds and reminded me of my late mom who was my strength. The curves and shapes on the box are the never-ending roads that will continue to add color to my life. I for one believe that every stroke has a story.
Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.
Joan Ling, INNOVATOR AND ADVOCATE FOR AFFORDABLE HOUSING IN SOUTHERN CALIFORNIA and Ann Lindbeck, ARTIST
Contents of Trunk:
A letter ordering lumber by Pablo Neruda
Accordian landscape
Key to a China trunk
Map of California
Map of China
Architectural drawing
Children Beyond Borders. VSA Arts.
Children Beyond Borders. VSA Arts.
Age 3
Because I am a curator and not an artist, I decided to organize a miniature show for Women Beyond Borders. The 10 featured artists were given a dimension of 1-1/4 x 2-3/4 inches and told to make something flat. The visual artists I invited are people whose work, lives and friendships have inspired and informed my life in a meaningful way. This is an extremely personal project and I wish I could have included something by all the others whose creative lives have proven to be exceptional examples to follow.
Barbara Berk
Angie Bray
Karen Brown
Jacqueline Cooper
Eileen Cowin
Kim Cridler
Kathy Haddad
Danielle Imperiale
Sari Roden
Liza Ryan
April 1975, Vietnam: Everyone knows the communists will over run Saigon, but no one expected it to happen so fast. Over the last month the sound of gunfire and explosions have slowly increased in frequency and force. We are so used to it that it has become a sort of background noise no one pays any attention to. Despite this I remember waking on April 30th, alarmed at how close the sound of gun-fire and explosions was to our neighborhood. The city was in chaos, dark smoke blanketed the horizon as people ran with whatever belonging they could carry. But as I watched it seemed that very few had any idea of where to go.
My family and I hurriedly packed some clothes and fled to a friends house in another part of the city called Cho-Lon which was safer. We could no longer stay in our home because it was near an army camp and therefore dangerous. My father was not with us because he and my mother had separated years earlier. Adding to our anxiety was a rumor that the communists have threatened to flatten Saigon if there is resistance. By noon the presidential palace had fallen and we knew it was all over. I was only 7 years old at the time and did not realize how bad the situation was, so I innocently told my mom that now Vietnam will be one country again so she can go back to North Vietnam to see grandmother. My mom was delighted with the thought.
Later that afternoon we drove to the harbor to see what was going on since the radio station had been captured by the communist and we no longer were getting any news. As we drove around the streets were now completely deserted and an strange silence had fallen on the city. The only people we saw were a few people left still burning records and documents in front of some government and military installations. More ominous was the fact that in the harbor most of the navy and merchant ships had already left. I asked my mom what was going on but she seemed lost in her thoughts, maybe she was thinking of the harsh choice she would soon have to make.
My uncle and his wife had been staying one step ahead of the communists since they fled the central highlands. Because of the speed of the communist advance, the roads were jammed with refugees fleeing south making progress impossible for vehicles. Even though they did not want to be separated, my uncle was forced to put his wife on one of the boats heading to Saigon because she was pregnant and would never be able to keep up on foot. When he finally made it to Saigon a few weeks later, he found out that his wife has not arrived and not knowing where she was or what else to do, decided to stay with us in hope that she would find him. Later we learned that the boat she was on had unexpectedly dropped everyone, including his wife, off at Cam Ranh Bay (another city in the central highlands) to go back north for more refugees. My poor aunt was unable to find a way to get to Saigon until after the fighting was over and escape was impossible.
Meanwhile for the rest of us, time was running out. We knew that if we were going to leave it had to be now. We waved down one of the few remaining navy boats which was headed out to sea but stopped to pick us up. At this time not everyone was willing to escape by boat so while it was crowded, there was none of the panic and fighting such as I saw in the photos taken at the American Embassy that day as the last helicopters were leaving. The gun-fire was getting closer and my uncle was torn between staying to look for his wife and escaping, he was worried that he and his wife would face retribution if he stayed because he had been in the army. My mother was hesitant to get on board because she had to choose between leaving with us or staying so that she could see her mother for the first time since 1954 when north and south Vietnam were separated. Finally she decided to stay and promised to find us after the war ended. As the boat pulled away I can still remember my mother standing on the dock, crying and waving to us. I was yelling : “Stop the boat, go back and get my mom”, but it was too late. In those few minutes my family was torn apart and for last time I saw Vietnam. As my mother watched the boat leaving with her children she was overcome with grief and changed her mind. Desperately she stood at the dock for five hours waiting for another boat to take her out to our ship, but none came.
On the way out of Saigon, we saw hundreds of returning boats and some of them warned us not to go on because troops were shooting at any boats trying to escape to the open sea. The people on our boat were very determined and decided to take their chances and leave.
Many of the boats we saw leaving were severely overloaded and one of the ships had run aground in shallow water. Our smaller boat pulled alongside the old, rust streaked ship and an agreement was reached that everyone who wanted to could transfer from our boat to the ship, and in return our boat would help pull the ship into deeper water. After struggling for three or four hours both vessels finally reached deep water and all passengers were transferred. The small boat turned back toward Saigon, taking a few people who had changed their minds and decided to go back. The ship, even more overcrowded than before slowly headed out to the open ocean for the long dangerous voyage ahead. Even though we had made it out of Saigon there was no celebrating, everyone was dwelling on what they had left behind and what the uncertain future would hold. That night was pitch black, there were no lights on our ship or on shore. We watched fireworks shooting up from the coastal villages into the dark sky. The communists were celebrating their victory and we could hear one of the generals broadcasting a new set of rules which he called ” the ten commandments “. These commandments were to govern life for those left behind in the new Vietnam. Our intended destination was Singapore and we slowly headed south. The weather was good and if it were not for the grim circumstances I might have been able to appreciate the beauty of the blue ocean and the small islands we passed. Once we saw some whales which terrified everyone because they were nearly as large as our ship and came very close. When I look back on the event, I think that everyone leaning over one side to watch the whales was more dangerous to the ship than the whales themselves.
Things started to go seriously wrong a couple of days into the journey when our engine broke down. I guess this was not very surprising considering how old and decrepit our ship was to start with. There were many more small boats from coastal villages followed us and dumping refugees onto our ship each day. The water started to coming in from an existing hole on the side of the hull of our ship which is now below the waterline because of the refugees’ weight. After drifting a few days, our food and water were running out, making an already bad situation very desperate. People started to fight over food and water. Everyone was being very careful to ration their water and food except for this popular singer from Saigon who would use a great deal of her small supply of water to wash her face each day. Obviously some people are more afraid of being unattractive than dying.
Everyone thought that we were going to die slowly and horribly, despair settled over the ship like a numbing fog. A man near me decided not to wait and shot himself in the head. I remember screaming when his blood and brain tissue splattering on me. On the crowded deck there was no where to store the body so there was no choice but to toss his body overboard and within minutes the sharks were fighting over it. As days passed, so great was my fear and loss that I felt neither hunger or thirst. My mind had cut off my ability to feel or comprehend what was happening around me, which was maybe a good thing considering what life was like onboard. Even though the ship was extremely overcrowded there was very little talking, everyone seemed wrapped up in their own misery. My brother and sister sat nearby crying and hugging each other. The crowding was so great that one night when I stood up to stretch, I found that I could no longer find a space to sit back down so I ended up standing the entire night until I collapsed. Having learned my lesson I did not get up again until we were rescued.
Despite our SOS signals and desperate attempts to get their attention, many ships passed us by without stopping but finally after floating what seemed like forever we were picked up by a Danish freighter out of Thailand on their way to Hong Kong. After being left by so many other ships, everyone was afraid that if we did not get onboard the freighter fast enough they would leave without us. Most of the people started to panic and there was a lot of pushing and shoving to get on board. Some fights even broke out and many passengers left their personal belongings behind in the mad rush. One man’s leg got crushed between the two ships when they collided into each other. Many others fell into the water and drowned during the rescued. By the time we were rescued, I could not move my legs because of sitting in one spot for so long; I had to be carried up to the freighter by one of the ship’s crew. That night as I was resting from my ordeal someone stole all the cash and jewelry that my mother had given me.
So when it was over all I had left of Vietnam were memories of people and places that had been left behind. For many years afterward, I would get angry when I thought about what had happened and what I lost. I was not angry at anyone in particular, rather I was angry how events and ideologies which I did not understand could take me from everything I knew and loved. After my mother and other members of my family have moved here recently, I finally have the chance once again to know the family I lost twenty years ago.
This box as I first saw it started off as a “box nichili”, the more I analyzed it the more vague it became. But as I admired the perfect symmetry and beauty of this innocuous little box, we developed a very strong bond, and I knew I would be very loathe to part with it. It was this bonding that inspired my theme.
Mother Ireland bore her children in the knowledge that emigration was inevitable. The egg represents the womb, with the never to be severed umbilical cords spreading out to all parts of the world and generation after generation respecting and remembering their roots.
I shall never forget you my “bosca bag”, and I sincerely hope wheresoever your sojourn takes you, you will be my “box popoli”, “vox humana”.
Slan agus beannacht my little wooden friend.
Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.
PHYLLIS CAMBPBELL, PRESIDENT AND CEO OF THE SEATTLE FOUNDATION
Right angles are only made by human beings. And if one thinks of the ultimate object created, one is led to the computer and its binary innards.
The dots on the unpainted, rectangular box are like the zeroes and ones used to create software. The disks represent programs which have strategies for solving problems of all dimensions, from local to global levels.
The box is about hope in the computer, that it will be able to help humanity.
Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.
TOMIKO FRASER, MAYBELLINE SPOKESPERSON/ACTRESS
Tomiko Fraser has benefitted greatly in her life from mentoring and, in return, wishes to nurture and empower other women. An exuberant, playful woman, she has been able to find her way and break free of the confines of others’ expectations.
In appreciation of Faith Ringgold and her painted story quilt “Sunflower Quilting Bee of Arles” (1991) and the women depicted within.
My box represents the three aspects of being. The lower section shows bones and clay through glass, representing the transient nature of the human body- physical being. On the box itself I drew my doodles and ancient Irish symbols representing the collective unconscious of mental being. Finally, the angel on top represents the spiritual being.
Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.
Elizabeth Rice-Grossman, BUSINESSWOMAN AND PHILANTHROPIST, SUPPORTER TO THE CIRCLE OF CARE FOUNDATION and Catie O’Leary, ARTIST
Images used in these collages represent Elizabeth Rice-Grossman — her life, influences and concerns, benefitting those near her home in Ventura County.
Images are personal symbols meant to represent her life, such as:
San Francisco – map, horses
New York – stock market
Hawaii – orchids
Theater – Arts for Kids, Nutcracker
African American authors
Grossman Burn Center
Migrant farmer housing
Americare – senior care
Memory TV – Circle of Care
The past enables the present
She had the box not at age fourteen, but much later. But somehow she scribbled over the wood — just like a teenager.
I collect “how to” illustrations, the drawings that come on packages that show you how to use the product. For this box, I made three scrolls with my copies of those illustrations. I used instructional drawings from health books, dental floss, box cutters, screwdrivers,chopsticks and Hi-8 tapes. They are packed tightly inside the box, a representation of the jumble of rules.
The leaves will dry up and grow old
The child will grow blood
The aging of the leaves represents the worry women have about growing old, but they are beautiful and they remain beautiful as they change.
Blood is also thought of as negative, but it is within us all- man, too. We have it to remind us of children every month. The hope in the future, despite change, children are precious jewels.
This book/box was produced for the 1999 leg of the Women Beyond Borders show. Its surfaces covered with gesso (support for intricate graphite drawings) and gold leaf, includes a reliquary indicating potential life, death, and emergence into light. The 52-page book pictures detritus from daily living, preserved by attentive drawing and watercolor: seeds, bones, plant tips, shells, buds, nuts, skeletons.
I know that there are lives much tougher than my own, and that I am enormously privileged to luxuriate in the poignant beauty of the commonplace. I hope that we all sometimes have the opportunity to pause and consider, even in the helpless despair of suffering and the frustrating reality of working so hard so often for our own survival; physical, spiritual, intellectual and emotional, and that of our loved ones, as well as all sentient beings.
Age 5
What we see depends upon where we stand as well as what we bring with us in our hearts and minds. What we see reflects us.
Nature is far more fanciful than me.
From its first moment, the shape of the small box permitted several associations and possibilities, but the point was not to alter the object per se but to have it remain in its artificiality, a box-like structure with a cover, closed with a rubber band, which was handed to me. Intuitively, I decided to confront this object with pictorial presentations that I had selected. In this process I begin by thinking of some imaginary associations.
This lead directly to a comparison of three objects, one after another. (Where does the wooden object “belong,” what can it be, or mean?) The pictures I have chosen in the frames are to be understood as an “offer,” which relates the different levels of representation to one another. Thus, a space is produced in which things can be observed in terms of conception and content or else in terms of space and form.
The inside of the “box” projects itself visually upon the pictures as they are seen. The concrete object serves as a “medium” of the continual transformation between things and pictures. Understood in this way, the wooden object can be regarded, abstractly, as a picture, just as a picture can be understood as an object. The positioning of the two picture frames with the wooden box creates as a whole a model of one’s own perception or of the possibilities of perception, and the relational positioning or the relational viewing of things.
Contemporary Icons, Portraits/collages of persons crossing my (Life) way- where I feel a Vision- a Feu Sacre to a task- a goal they create herself……
Top: the 3 jewels (the Buddha, the Dharma (teachings) and the Sangha (spiritual community)
Color: yellow for the Lama’s robes
Images: lotus flower, 3 jewels with Bon swastika (Bon was the religion of Tibet before Buddhism), fish, vase with flowers
Inside the Box: barley
Top: apple
Images: flower, river, high mountains, rainbow, flower and rainbow on top
Inside the Box: yak cheese
Withdrawal into a coffin, which feels like a tub that may only be locked from the inside.
Withdrawal like a hurt fox withdraws into her fox-den to lick her wounds to put one’s dreams in order.
One, who is carried inside by some people anyway, becomes only rarely visible for the outside. (Only few can feel and understand the distance originating thereof, and are therefore especially close) from life, from the existence.
To bring dying to an end & to begin anew.
Blue skies, sun rises, sun sets.
Very quickly, you leave us
Like a bow leaving it’s arrow.
We stay. It’s good to stay.
Our future is good.
Top: flower
Images: Knot of eternity, eight-petaled flower, Bon swastika, 3 jewels (the Buddha, the Dharma (teachings) and the Sangha (spiritual community), sun, moon, flowers
Inside the Box: Kata (white scarf used as offering to Lamas or enlightened people)
Text: World Peace
Blue sky, sun rises, sun sets.
Very quickly, you leave us
Like a bow leaving it’s arrow.
We stay. It’s good to stay.
Our future is good.
I wish to get married and have kids.
What comes out of this box from magic, whispers, screams, images and emptiness…is Life.
My box sculpture represents my past and my hopes and dreams for the future. Now I am caught in the middle as I work in Singapore as a domestic help.
It is the thought of my children back home in the Philippines (that’s why their picture is here) and my dream of having my own restaurant in Manila that keeps me going.
My artistic endeavors dwell on questioning the ideal body portrayed by popular culture, by way of designing and making prosthetic garments that allow small people to be what they are not; awkwardly tall, beer-gutted, seat-spillers and generally voluminous. The combination of humor, formal relationships and social commentary are also mixed in most of my site-specific installations.
This illness is like the box itself. Hwee Choo has let the simplicity of her words speak for her. Though the box may represent the ravages of cancer, the body still holds a bright and vibrant heart, undivided by the struggle.
Top: the 3 jewels: the Buddha, the Dharma (teaching) and the Sangha (spiritual community)
Colors: monastery
Images: goldfish, land, mountains, river, clouds; an island surrounded by water; fruit
Inside the box: barley, primary ingredient of Tsampa, a basic Tibetan food
The figures on the top represent her husband and four children who were all murdered during the genocide. She had to (forced) watch, as her husband was hacked into four or five pieces. Overwhelmed with tears, she could not go any further.
Note the small red heart on the side.