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BOXES beyond borders

An Old Song

Recently, a collection of my poetry entitled, Common Ancestry was published by Mille Grazie Press. The title of the poem and several others, including An Old Song, were written remembering my grandmother, Curruth Drummond Kincaid. Her picture as a young woman graces the cover of the book. All that I do- from poetry to politics- has its genesis in my grandmother’s life. She always spoke of the influences of her grandmother, Chestine Foster, and her aunt, Ada Foster. I was her firstborn grandchild and went to live with her in Marion, North Carolina, just before my 5th birthday in 1948. She died in 1997 at the age of 97. Here I have used her picture taken at age 94. The picture of me, circa age 45, was taken by my friend, Specs Powell.

This box is covered with purple star-studded paper which wrapped a book I received as a thank-you gift from a teacher and friend, Marianne Rossant. The book was her mother’s memoir of growing up in Egypt and in France, the birthplaces of her parents. My friend, Margaret Matson, instructed me in the art of paper maché. The poem is printed on a computer scanned version of the wrapping paper. The star on top of the box, part of a gift from my friend, Abigail Albrecht, symbolizes my namesake, Sojourner Truth, whose dying words were, “I’m going home like a shooting star”.

Thanks for the help to Rod Rolle, Margaret Matson, and Tom Long.

AN OLD SONG
Sojourner Kincaid Rolle

I have no new voice
it is the same old voice
the voice of my mother
calling
for her daughter
captive of Kaleidoscopic mirrors
the voice of her mother crying
for her daughters
lost
in the mill village
singing for the hill pople
dancing for nickels

Old as the voice of her
mother screaming for
daughters taller than
herself   tall as the
Carolina pines   taller
than her predators
tall enough to speak
above heads of
inferiors   old as
the voice of her mother
singing from the deep
recesses of her humming
heart   deep where
the memory began
to be played over
for the forgetting

The Dance of Life

Artist from India

The box represents the oceans and earth, embellished with the symbol Om; this is the sound of our breath or Pranava. Inside, gold dust is the precious earth we must cherish, upon which Natraj, the Lord of Dance, dances the dance of life. On the lid, is Hukam हुकम.

I seek the blessings of the Tibetan prayer flags, the vibrational frequency of Om, and the sheer liberation of Hukum (surrender) to continue this dance with intention and purpose. The Tibetan flags carry our prayers via the wind to get them answered. The flags represent the five elements. White flags symbolize clouds, red for fire, green for water, yellow for earth, and blue for the sky. The mantras spread positive energy wherever they are.

Om- The sacred syllable
Mani- Jewel
Padme- Lotus
Hum- Spirit of enlightenment

A box of stories

Artist from India

This is a box of stories- stories of how these women have inspired me, directly or indirectly. It is also full of ghosts-countless nameless/faceless other females who through their words or actions kindle our desire to tackle our Deepest Fears, prompt us to Brave the Wilderness or galvanize us into action. It is through them that I have learned to respect strength, not power; value the lotus-like ability to thrive in muddy waters and appreciate all that I have. Because I have so much… Most of all, I have the company of these brave souls.

Bringing all of my Life Experiences to the Public Table

Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.

Rep. Anna Eshoo, CONGRESSWOMAN FROM CALIFORNIA and Laura Deem, ARTIST

Anna Eshoo’s life experiences have helped to shape her into the person she is today and the way that she represents her constituents in Congress. Her role as a parent, daughter, wife, student, teacher, woman, caretaker and friend have all come into play.

The handwritten slips of paper contain Anna’s private thoughts, memories and experiences. These personal topics feed into a “public table”. This public table is a communal meeting place that houses issues, projects and policies with which Anna Eshoo is involved as a Congresswoman.

The objects represent both the private and public world. Combined they weave together an individual narrative of the many hats that we wear, the experiences that accompany them, and the ones we chose to share with the rest of the world.

Transitive / Transform

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

 

 

Untitled

The scrolls contain the following of my poems in free letter distribution:

Enfold                                          
the planet earth
world-encompassing
make it resound
with the small
and stammering voice
with the stammering
and gathering call
with the word
that was in the beginning
and worked with the breath
of regeneration
within you and me
enfold the planet earth
And do not forget the animals
our wordless siblings
do not betray them
for they crave justice
just as we do
return their dignity
return their rights of life
to them only thus may
the secret of human being
be rediscovered
as a light in the darkness
in the name of all
that lives and breathes
do not forget the animals
our wordless siblings
do not betray and market them
take not their dignity
away from them

Untitled

I treated the box as an objet trouve, a modest thing with some forgotten purpose in its past. Upon being discovered, it brings to mind associations, and memories which unfold and spread out when the box is opened. Part object, part landscape, the image within the box does not recall a specific locus; rather, it reminds us of things that we know are memories. But these are stored in such distant lands that they cannot be conjured, they can only be gazed over.

The Mummified Stone Heart

The central focus is a very special stone heart found on the Pacific coast at the equator. It has an uncommon green color. a heart with many scars. Once it was split, but love was able to hold it together and unify what had been separated.

Sorrow leaves wounds; joy brings peace.
This heart has found its peace.
Its wounds have healed.
The purpose of life was fulfilled; the eternal cycle of birth to life and death to a new life.
This heart has been embalmed; first if has been cleaned from all perishables.
The nucleus remained, one with the nature.
For women all over the world and over all times it might be a symbol for love;
isn’t the woman love’s keeper?
Love is immortal.
Faith and hope in the victory of love might be the symbol of humankind in the next millennium.

NOTE: This embalmed heart has been wrapped with golden ribbons, placed on a plate of slate from the Andes, and bedded in a stone sarcophagus.  The feather of a white swan symbolizes the purity of the heart.  As grave goods, there are two sealed papyrus rolls perpetuating the heart’s qualities. This project contains symbols from four different continents (America, Asia, Europe, Africa).

Break Water

Borders are changing lines on our world’s map that demarcate culture, land, time, history, ethnicity.  These are intellectual separations, but the older physical lines of division are also lines of connection- the oceans that separate us, join us.  Water is the vehicle for life- our food, our bodies, our planet.  Women share the experience of our body’s potential to transmit new life.  Our female bodies are both the source of our common oppression and transcendence. Break Water recalls the moment that proceeds birth.  The image is simultaneously bound and released, evoking change, possibility, destruction, hope.  I have included materials from previous works; a Xerox transfer image of a rope sculpture I made across a rotten East River pier in New York City, and two eggs which I collected in Brazil during a women’s collaborative show.  These are symbolic “births” of new ideas and images that women artists are collectively making to Break Water and change the marks that divide us.

Flor de Canela

My box is an expression of myself. Now others will know who I really am.
I did not have an original box, but built a bigger one with my husband. All objects and photos are symbolic.

Apricot Box

From childhood through adulthood- fairy tales, myths, and even nursery rhymes follow us about, shaping us, forming us.  At an early age, we learn that beauty equals good, and ugliness equals bad.  We also learn something about the narrow range that is supposed to define a woman’s safety zone.

Miss Muffet sits and minds her manners, and even then, is frightened away by a spider, while Little Jack Horner gets to stick his thumb in the middle of a pie, pull out a plum, and thinks to call himself a good boy for having done so.

Apricot Box is about women reclaiming for themselves, the ripe, fruity, fragrant, luscious parts of ourselves, and about little girls, never losing it.

 

Letting It All Hang Out

This box is sort of a self-portrait.  It is about me, anyway.  It represents some of the things inside of me that I like, get pleasure from, are positive and good, and that I am grateful for in my life.  It’s a celebration.

 

Rewind and Understand

The theme I am using for this box is the notion of self-exploration. Society has become chaotic and volatile. One must look within and access their own position. It is only then can one figure out their meaning in the scheme of things.

The theme depicted by the box represents a journey. This incorporates the spiritual, the physical, and psychological dimensions. The function of the box serves as a medium for self-realization.

The blurred box cover represents how people are finding an inner-spirit and harmony. It is unclear and difficult to define. Once we search in between the lines– the torn lining, clarity may be achieved.

Once the box is opened, all becomes clear. Lucidity is found in the “blurred words”. The engraved message is re-written in clear legible writing. This represents the move from inner confusion to understanding.

Human beings constitute a fragmented whole. This implies an elusiveness about human nature and its expression. Without questions, where is individuality? The liberation of the “self” allows change, progress. With rigorous self examination, pieces of the “puzzle of life” penetrate the surface. The box is an example of this.

Women have access to their feelings. They are allowed to “own” them. Possession of thoughts, ideas, dreams are what this box characterizes. If we look back (rewind) we can understand why we are the way we are. The journey continues…..

 

Art Box

Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.

Yvonne Banks, Owner of Art Consulting Services and Marie Hassett, artist.

Yvonne Banks is passionate about art! She has been instrumental in bridging the art world with the rest of our community for over 20 years as an art consultant and former gallery owner. Art Box is a tribute to her contributions. Her own vision and tireless energy strengthens her advice to young women, “You can do anything if you’re willing to work to get there.”

It was my pleasure to spend time with Yvonne sharing stories from our lives, finding commonality in our experiences as mothers, gardeners and lovers of art.

Framing Life, Memories, and Wisdom

Tajima. An artist and an extraordinary woman collaborate to create a box.

Susannah Malarkey, EXECUTIVE DIRECTOR OF THE TECHNOLOGY ALLIANCE OF WASHINGTON and MalPina Chan, ARTIST.

The form of the square frame suggests strength and solidity making it an appropriate metaphor for Susannah. From the first few moments of our initial conversation, we felt a connection as we shared memories about our mothers and daughters. Susannah’s feelings on “wise women who came before passing on and sharing their life’s lessons” and the notion of “tribal memories” serves as the inspiration for this piece.

The Encrypted Future

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.

 

 

What it Takes to Make Change: Sharifa Wilson and Transforming a City

Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.

Sharifa Wilson, FORMER MAYOR OF EAST PALO ALTO; COLLEGE TRACK DIRECTOR and Daisy Juliana Eneix, ARTIST

When I first spoke with Sharifa, the former Mayor of East Palo Alto, I was struck by her absolute faith in her ability to make change. “I consider myself an optimist” citing her family as her primary inspiration. As Sharifa went on to discuss the strategies she has used to bring money, businesses, jobs and better education opportunities into East Palo Alto, it became clear that persistence was something she didn’t think twice about.

While considering what I could do for an artwork about Sharifa, I thought about what a formidable force she was. A picture came to mind of some unsuspecting guy delivering her the “Sorry lady, that’s the way it is” line and what she would do with that. This artwork is about the refusal to accept that answer and the possibilities it opens.

 

Keeping On Course

Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.

Barbara Boxer, U.S. SENATOR FROM THE STATE OF CALIFORNIA and Barbara Leventhal-Stern

The first words I associate with Senator Barbara Boxer are passion and courage. In my mind, I saw an image of a boat that “keeps on course”.

Because the exhibition serves to inspire young women who could be faced with adversity or hard decisions, I inserted excerpts from our email dialogue so they could read about the sources of her commitment themselves.

Thanks to Senator Boxer, and Michael and Adrienne, her talented staff.

A Sock and a Soap

In the pine box I placed a soap from the collection of ‘Human Body Smell’ soaps.  Over the box and the soap in it I pulled the inside out turned sock with some feathers sewed on it.  Both things I got in my studio where at the same time I work as a woman and live as a bird.

 

Fabricated Fame

Today’s celebrities seem to all be coming out of some celebrity machine.  Behind the glitz and glam, the expensive cars and fancy clothes, are producers and stylists that give celebrities their identities.  They all strive for the ideal image but in the process they become copies of each other.  I made my box into a gaudy, sparkly representation of fame.  I’ve carved in idealistic image of a figure into the lid of the box and created prints from it.  The prints show how celebrities are simply produced copies that are made to be this ideal.

 

Reverberation: Yuri Kochiyama

Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.

Yuri Kochiyama, LEGENDARY CIVIL RIGHTS ACTIVIST; CLOSE FRIEND AND ASSOCIATE OF MALCOM X and June Sekiguchi, ARTIST.

I want to represent the effect pivotal events had on Yuri Kochiyama and how her life and work had a ripple effect in turn. Something breaks the surface of awareness and affects a resounding change. The box is the foundation supporting barbed wire which acts not only as the internal framework of concentric ripples reverberating beyond the source, but references important aspects of Yuri’s life: internment and political prisoners.

The box holds a gathering of pebbles that signify the catalyst of change. The ripples are inscribed with quotes, influences, and documentation of her life. I’ve chosen to use text heavily in this piece because the written word has held a place of importance in Yuri’s connection to the world. Light and shadow reflect the intangible far reaching affect she has had.

Radical Profiling

Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.

Joan Takayama-Ogawa (artist) and Elaine Tajima (CEO, founder at Tajima Creative)

We live in times of war, where racial profiling threatens the freedom of Arab Americans. By transforming this wooden box into a shrine representing my family’s internment in Japanese American relocation camps, I hope that racial profiling will not happen again.

Symbols of the highest decorated American 442 Regimental Combat Unit, the luggage tags with family numbers for the Takayama and Ogawas, rotate around the box symbolically, tied with barbed wire. Along the perimeter of the black tray, a plant revered by Japanese Americans, connects with barbed wire symbolizing their incarceration. A gold crane perched on a post, represents the Hiroshima bomb.

Thirty-seven last names along the edge of the tray represent hundreds of my family members who were incarcerated during World War II, remembering freedom is fragile, and racial profiling is intolerable.

 

In Memory of My Father

This box turned out to be about the death of my father (1925-1986). In thinking about the exhibition and before I actually had the box in my hands I thought of “hope chests” and “Pandora’s box,” both representing women’s issues and lives. But behind these thoughts was always the image of coffins and bone boxes (the boxes that the bones of the dead in Greece are transferred into after their initial burial).

After receiving the box and playing around with it for awhile, I had to go with the more direct, personal association of my father’s death. So it became a shrine, a memento mori, a symbolic object. The words on top are FUTURE, PLACE, GOOD MAN, LIES. The words inside of the half-open box are HERA, MOTHER, THERAPY, FATHER, DREAM, STRANGER. We will all go to this future place. Here, a good man, lies. Hera, Greek goddess, wife of Zeus, mother/father/therapy, dream, father stranger.

Dreams of Dancing

Idee Levitan, an artist and patron of the arts, world traveler, lifelong philosophy student, adventure seeker, mountain climber, wife, friend, and proud member of a most independent sisterhood of polio survivors, died before she had the opportunity to work on the Women Beyond Borders project.  The virgin box was among the mementos Idee’s husband sent to me.  My dearest soulmate, Elena Mary Siff, invited me to create a tribute to Idee’s spirit so that Idee might be a part of an intriguing and profound exhibition she would have heartily embraced.  The Wheel Chair could not contain her Dreams of Dancing…

 

Red Box of Hope

Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.

CRISTINA CORLA, SURVIVOR CONTESTANT AND POLICE OFFICER and ANN GENZON, ARTIST
Red Box of Hope represents survival, endurance, determination, perseverance, and the promise of hope through one’s life.

Life is charged with challenging situations and wonderful moments as well. Life is a journey, life is a gift.

It is within every human being that travels to the roads of life, to develop the ability to close certain doors forever and to open the newfound doors of hope, faith and wisdom.

It is within every woman to find the courage necessary to overcome complex, dangerous and sometimes confusing messages unveiled in the act of opening these doors. It is within every woman to find the strength to lock forever these doors, and find the right door that leads to THE RED BOX OF HOPE.

Balkan Dance

This traditional Balkan folk dance slipper carries a box holding the grief and terror of deportation and internment as well as hope for endurance and the end of all exiles- physical, political, cultural and spiritual.

Pandora’s Box

Where do my thoughts and language come from?

Do they arise out of a chaotic flux of sensations and mental images? Are there some rules or a deep structure underlying this apparent chaos? Is the Right Brain, more intuitive part,  more closely related to the unconscious (if there is such a thing) than the Left, logical, verbal part of the brain? My painting suggests these questions to me. I wonder how the part of me that knows is related to the part of me that doesn’t know what it knows.

In making this box for Women Beyond Borders I am reminded of that wonderfully curious woman, Pandora, who for centuries has been, to my way of thinking, erroneously blamed for all evils on earth. I discovered there’s another version of the story, and it goes like this:

The box which she opened contained everything that was good, and when, (against her husband’s advice) she raised the lid, ALL THAT WAS GOOD escaped out into the world. I like this story and think it’s a fine metaphor for the creative, open-minded nature of womankind.

Bearing One Another’s Burdens

As I contemplated my involvement in this project I was immediately drawn to the reverent simplicity of the tiny redwood box.  As I held the box and pondered its humble strength and quiet stability I was instantly reminded of the strength, perseverance and poise-under-pressure that often signifies women in general.  This strength of endurance caused me to then think of the many burdens we all carry around with us, and how much lighter the burden can be when we know someone is helping to carry the load.  The Bible reminds us to share in each other’s trials.  By helping to bear the load brought on by death, illness, heartbreak, loneliness or other oppressions, we offer comfort and hope.

In creating this visual testimony I attached the lid to the box and produced a stable and strong vessel.  The vessel houses the strength, perseverance and love that together can lift, carry and support the great weight of the burden that is placed upon it.  The burden, a complex aggregate rock, is both rugged and smooth in its makeup.  Beneath the rock is a cushion, a sheet of gold, intended to soften the burden.  The rock is bound to the box with a tightly wrapped and intertwined cord.  The cord is the weakest element.  It can be cut, and at any time the burden can be lifted.  The cord reminds us of our obligation.

It is my intent that this box stand as a reminder to all of us to humbly bear one another’s burdens, to encourage and strengthen one another, to love, honor and pray for one another.  By helping to bear the burdens, we find joy in knowing that we have contributed to the needs of others.  By bearing one another’s burdens there are blessings to be found in the midst of tribulation; there are victories to be found in hidden places.

Did you want to Come In?

This piece explores the dialogic relationship in question and response.  The speaker of the question, did you want to come in? –which is computer printed text repeated- this speaker is absent in image but present because of the text.  The viewer is alone with the question and asked to respond but in a monologic way.  The dichotomy between one way communicating and communication, an interactive experience, is brought out in the piece through its own dichotomy – the answer is not provided for the viewer.

 

Lost Butterflies

Where have all the mothers gone?
Off like butterflies in the wind.
All to great deeds of glory
Then on to new beginnings again.
The chrysalis of life is a never ending bond
Until the end of time.
Where have all the mothers gone?
Lost the most precious gift, a child of mine.

 

Biological Baby Buggy

With my work I explore the theme of a woman’s fertility.  Fertility is a complex issue and fertility is not always a G-d given right.  Age and circumstances can exert enormous pressure on women to define themselves, to reach important decisions at what could be an inopportune time.

To embrace motherhood or to reject motherhood, or to gain motherhood through extreme and unusual means: are all fraught with their own assumptions and characterizations, either internally innate or imposed by external forces.

The tendency to define a woman by her ability to bear children is limiting and demeaning.  A woman must be defined by her ability to live a positive and meaningful life.

My quest is to honor all women who engage in creation whatever form it might take and encourage women to feel comfort and acceptance on many paths.

Revelation

“To laugh often
and much, to win
the respect of
intelligent people
and the affection
of children, to earn
the appreciation
of honest critics
and endure the
betrayal of false
friends, to
appreciate beauty,
to find the best
in others,

to leave the world
a bit better, whether
by a healthy child,
a garden patch…
to know even one
life has breathed
easier because
you have lived.
This is to have
succeeded!”

-Emerson

My Favourite Things

My most recent work has been installation-based amalgamations of photographic images and text, the result of which is a cross-over into an almost cinematic form and aesthetic. My practice has shifted from an analytical approach to the concepts outlined above to a more personal exploration of them. My use of image and text alters the codes which are usually brought to bear in ‘readings’ of these mediums. Each form is pushed aside in favor of the other, forcing them to jostle each other for primacy. The text is always my own writing, which consists of nightmarish vignettes (real and imagined), frequently including references to some popular cultural homily, in order to insert some humor/irony, and to suggest that there are certain pleasures to be obtained from the so-called negative aspects of culture/existence.

I decided to base my box on work I am currently exhibiting in a group show titled Fear Incorporated. I have closed and enclosed my box to suggest the mystery of that which is hidden (psychological/cultural, whatever). I then re- inscribed the surface of the box (or the cube it has become) in two layers. The first layer – photographic flowers, dissimulating nature – seduces, as only images of natural beauty can, yet forms a surface which shuts off investigation. The next layer – the text touches on the mysteries of the subconscious. The box spins around on its chain to laugh at the simplification of these complexities inherent in such ideas produced within popular culture (albeit a somewhat nostalgic, dated form of it) as “I simply remember my favorite things.” At the same time it suggests the potential for a kind of pleasure to be found in that which is relegated to the negative.

 

Untitled #1

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

A Piece of My Heart

mary daley’s gyn/cology and wickedary

germaine greer’s the obstacle race

zora neale hurston’s their eyes were watching god

ruth klüger’s weiter leben: eine jugend

toni morrison’s playing in the dark

grace paley’s 3 short stories

adrianne rich’s of woman born

alice walker’s in search of our mother’s gardens

The Story of Late Chen Yuen Mei (Ma Che)

The work focuses on the life story of late Chen, a ma che or domestic servant, who came to Singapore from China in the early twentieth century. Despite having a hard life, she persevered for a brighter future. With her meager earnings, she supported her entire family in China, and contributed towards the purchase of 51 Neil Road. The premises housed the former Yuek Ann Tang which was a temple as well as an association that served as a refuge for ma ches; these women like Chen, were alone and poor. In her old age, Chen suffered from Alzheimer’s disease. Chen gains my utmost respect, not only for her contributions to the association, but also for her outstanding character. She demonstrated strength and perseverance throughout her life. The work aims to develop an invisible space beyond the box, and includes a web site that walks one through the places where she lived. To fulfill Chen’s dream of a grand funeral and send-off on her last journey, the box serves as her coffin.

 

No Chains on My Feet

Inspired by Bob Marley’s concrete jungle. My box signifies the reality of life. Nobody is really free. There are restrictions, expectations, and guidelines on you, which don’t allow you to be free. People are fed lots of lies, been told things that sound good, just to keep them satisfied, but if you stop and really think your chains may be invisible, yet they’re present. You are never really free to be yourself. Life is captivity. The baby inside the box shows that the moment your life starts is the same point your freedom dies.

Garden of Life

Friends are the flowers in the garden of life. My flower gardens bring much pleasure to myself as well as many others. Through gardening and art, I have made many friends who enrich my life. Friends in far-reaching places oftentimes come to mind. I like to think of them as flowers given to me in my garden of life. True blessings.

It is my hope that my box will convey to others how important friends are. May my little traveling garden bring a smile to the viewer, along with a reminder of someone special—a flower placed in their garden of life.

Dice of Life

Dice of Life represents the various facets of life and the decisions people have to make in life. The wire mesh box represents institutions in which we are governed by: society, family, government. The dice represents the different phases in life and the kinds of decision we have to make. We make decisions every day and for each decision, the outcome is unpredictable. Like throwing the dice, we do not know what the answer may be. Every decision is very crucial and often there is no turning back. But once decided, this decision will be carried out, maybe for the rest of our lives, or maybe part of our lives. Whether the outcome is good or bad, it is up to us to make something out of it. This work is personal for me as I was once a single working lady and had to make a sacrifice in order to have a family.

Project Recipe Box

This is a collaborative effort by mail/email, having started in December 2000 and will conclude December 2002. It asks participants to contribute a recipe from their mothers. The word recipe is open to interpretations: memories/ remedies/ conversations that occur in the kitchen/ contents of a pre-packed lunch/ etc. This is a simple project, based on a chain of words – women/ mothers/ cooking/ kitchen – used within a simplistic context of a stereotype, there are many distinct and different identities. In a kitchen, each woman develops multiple and complex ways to deal with the role of mother cooking. This role (one associated with sugar-coated sentiments) is also the same role that allows a woman (who may have been defaulted into the kitchen) some measures of control over her family. The kitchen can be a very powerful or oppressive place depending on the woman occupying it. I would like to think that every mother occupied it differently. I hope that this project (a small and incomplete record of their many facets) may serve as a humble but deserving tribute to all our mothers. And if it fails to do that, it is at least, a collection of recipes to some very delicious and precious dishes.

The Women's Voices: Ye Shu Fang from WOMEN BEYOND BORDERS on Vimeo.

Nights and Days of Life

Some days are dark
We don’t get anywhere
We feel stuck in a dead end
Going round and round in a circle
Banging our head like a stone
On the walls of our own limitations

And some days are light
We feel free like a whistle
Our voice rings like a bell
We see light everywhere
We see clear through everything
And all makes sense
All shines and all is well

Such is life
After all
For every single one of us
Isn’t it just a mirror
Reflecting our own inner state

 

Bacalah!

The contemporary Malay woman has been able to breakthrough poverty and tradition, from being illiterate to literate. Through the education system, the contemporary Malay woman has contributed to the community through her professional practice/skill. By using a box as a boundary confined to a space, I have inverted the box and carved into it ‘half ‘ patterns to imply the act of being out of the boundary. Entitled Bacalah! which means read, the journal resting on the box represents the spread of knowledge to the masses through a learning process. The inversion of the box with the journal alludes to the breakthrough that the contemporary Malay woman has made and that she is no longer being confined. As learning should start at a tender age where ‘the children of today shape the community of tomorrow’, an image of a child appears on the open page of the journal. The documentation for this project reflected in the journal was carried out in the form of a survey among Malays and non-Malays on their perceptions of the contemporary Malay woman.

 

Ask for Guidance

When I started this project, I had a general idea of what I wanted to say and how I would do it. However, once I started beading it began to take on a life of its own. For one thing, the beading took much longer than anticipated, which forced me to slow down and enjoy the process.

Beading is a mechanical type of thing which allows contemplation while still doing the work. It began to look a bit different than I planned and time was getting short so while I beaded, I literally asked for guidance and trusted that this would lead me somewhere. Is it a pillow, a blanket, a symbol?…it is any and all of these things and a place to rest and to think. The idea to glue messages to the box came as I beaded. Lesson learned.

“All you need to do to receive guidance is to ask for it and then listen.” Sanaya Roman

“Learn to get in touch with the silence within yourself and know that everything in this life has a purpose.” Elizabeth Kubler-Ross

 

Today Women

Women in today’s world have various facets, she is expected to fulfill multiple roles and there exist many issues which demands her time and energy.  The 4 sides of the box depict today women various circles of concern;

Family- She has to fulfill the role of good daughter to her parents, a loving wife to her husband and of course, a caring mother to her children.  She doesn’t only need to spend quality time with each but is also expected to keep in touch with their worlds, traditions and trends. Hence, observation of traditional customs such as Chinese New Year, celebrating Valentine’s day, knowing the difference between Ash, Pikachu and Teletubbies…the list goes on.

Career- She is naturally the co-bread winner, especially in Singapore’s society. In a knowledge based economy she has to fulfill the expectations and obligations of a model employee. She is expected to be efficient, innovative, receptive to the ever changing corporate identity (mergers and acquisitions making it more exciting), requirements and culture.

Social- In between all the juggling, she keeps herself updated of the news, happenings, fashion, trends, movies, television programs (even if she has no time for them–at least she must know what’s showing!) And definitely, squeeze in time for friends, neighbors, and maybe even some charitable work.

Self-Intellectual/Spiritual/Physical- In an increasingly borderless world, life long learning is becoming the norm–continuous education, for the diploma holders–the dream is to obtain a degree.  For the degree holders, the aim is to complete an MBA, for the MBA and MSC holders–a Ph.D.? Today, women must keep in touch with the internet world–or else she would be lost in the sea of information.

Health is important too–so time is needed for exercise.  Of course, not to forget spiritual needs as well.

Reflection- Today women, to perform her roles well–is that a challenge or an expectation?  In today society, there is no other alternative, so today women must make best of whatever resource she has, develop her skills, increase her knowledge and extend her circle of influence–with the sole objective of playing her roles well.

 

Celebration

My box is a celebration of the joy of life, magic and imagination. I used the red part of the cardboard and some of the words found on the carton the words joy and oz., referring to the Wizard of Oz, and Coke. I cut the cardboard in the manner of Matisse with shapes of women dancing.

I teach eight art classes at four different colleges, sixty hours a week including driving time. Needless to say, I have little time to stop for a meal. So when my blood sugar starts to drop, I have a Coke. There is nothing like it–the two major food groups of sugar and caffeine. Coca Cola gives me a lift and makes me feel good.

 

Granfaloon of 3

I adored my maternal grandmother and gave my daughter her name. Isabella. One day when my daughter was a tiny girl, she said to me, out of the blue, “Remember when I was the big lady and you were the little girl? Wasn’t  that fun?” It was fun.

Personal Affairs

The little book attached, describes the origin of the fabric (where it was woven and printed), its purpose (as far as it could be tracked down) and most important the donor. The donors are all women who I have got to know in Singapore (except my mother who has visited me in Singapore for 4 months). The box might be seen as synonym for the female body (or at least part of it), all those pieces of different fabric stand for the colorful, multi-layered women personalities.  The chain at which the little book is attached has a meaning too: It stands for all women who have not freed themselves from a world which is still very much male-dominated.

Pearls of Hope

Let’s hope

There will be no more wars and differences among countries… and instead, peace…

The world will be free of the evils of human nature–greed, fame and vanity…

The word cancer will be erased from our world with advancement in medicine…

The pearls of hope will illuminate our world, and help us realize our dreams…

I Would Still Like to Have…er…Chewing Gum

The ban of chewing gum a decade ago has caused quite a stir not only in Singapore but internationally too.  Although it may seem to be a trivial act or even unimportant matters in a political dimension, it has nonetheless created some public awareness of how far an average citizen can tolerate this form of authoritarian regime.

 

As a law-abiding citizen of Singapore, I have no choice but to give up one of my favorite habits and life’s little luxury during my younger days.  Nowadays, we can still spot someone chewing gum discreetly in public especially on board of public transport.  It’s not a big crime or anything like that as long as it is disposed properly into the bins.  Although the government has shown a good degree of tolerance, it is still against the law to sell or import chewing gum.

 

I still chew gums that I brought back from overseas and enjoy blowing big bubbles like I used to so; what’s a little law-breaking gonna do to me?

 

Untitled

You may read and see,

But you can’t touch her.

You may look and sympathize,

But you can’t feel her pain.

You may think the wound is healed,

But you don’t know it stays forever.

She trusts to be loved and guarded,

And in return she got that.

She isolates herself from you

As her world is dark and lonely.

She is suffering behind that smile,

You don’t even realize it.

She is unable to accept the truth,

As it hurts to talk about it.

Listen now… “Why me!

I trusted him and this is the time when he RAPED me”

Fannie’s Soap Box: The Story of an American Cheerleader

Tajima Box Project. An artist and an extraordinary woman collaborate to create a box. 

Fannie Flagg, ACTRESS, COMEDIAN, AND AUTHOR with Ramona Otto, ARTIST.

When I was told that I would be doing a piece on Fannie Flagg, I was honored. We are from the same generation, and I’ve always enjoyed her TV and film work, and was impressed that she was also a brilliant author and screenwriter. Because word play is often a part of my work, my original thought was to make the box into a soapbox, and then I could make the theme into whatever message was important to Fannie.

Fannie’s wish was to have a positive art piece because she was tired of all the negative art and energy being released into the world. She hoped her piece could reflect that life was good.

I hope my title gives a whole new meaning to the word “cheerleader.”

 

 

Open Box

The box I have created (recreated) is an “open box.” Here the box signifies self-imposed limitations within which we live. Whether in the marriage box, the mother box, the artist box, we notice ourselves playing certain preconceived roles. This becomes inhibiting and sometimes agonizing if we are not aware and perhaps unable to change the rules and roles of the boxes as we grow and change.

I particularly admire people who constantly recreate themselves; who seem unrestricted by society’s boxes. Louise Bourgeois, one of the great sculptors of this century, is one of these people. She looks at things, relationships, her life and her art always with a fresh eye.

One can see Louise Bourgeois in the ceiling of the open box by looking in the mirror. The picture shows her holding a large bronze phallus that she made. The photograph is by Robert Mapplethorpe. Above her is the shell which signifies the soul.

For Ritta

USA/Czech Republic

My sister died before I was a little girl.
She was put in a gas chamber in a
concentration camp.

My daddy was so sad he couldn’t stop
them so he made another little girl right
away so he could forget about Ritta and
be happy again

Only this was not ok with G-d. G-d
thought that this was too fast so he
played a trick on Daddy. He took
Ritta’s soul, which was still very upset
from being starved and gassed and
burned and sent it back to Earth.

Normally a soul would be allowed to
float around out there for a couple
hundred years or more to calm down
after doing Life. So it was shocking for
Ritta’s soul to come back too quickly
and-this was the mean part-to be
stuck in Janicka’s body.

This was very hard for me. I thought I
was supposed to smile. Everyone
wanted me to be a happy pretty little girl
so they could be happy and forget. But,
too bad looked like a bullfrog and I
could tell they thought that and were
ashamed. So no smiles. They didn’t
know about Ritta’s soul and that it took
up so much space may own little heart
didn’t have room to beat.

So along we went, poor starved gassed
and burned Ritta and what was left of
me and no one knew so I was very sad
and lonely. And poor Daddy couldn’t
forget Ritta because she was inside the
little bullfrog.

A Confirmation and Discovery of Witchcraft

My recent work is focused on issues of identity, sexuality and language. I am also interested in women’s history and in women’s roles throughout different cultures.

To address these issues, I explore a variety of media, whatever I feel most appropriate to convey a specific feeling or experience. Confirmation And Discovery Of Witchcraft is an homage to witches and their wisdom and to their power to combine magic, mystery and wisdom.

The box is smoked; the top of the lid shows a young witch casting a love spell. Inside the box are burned matches, inscribed with the names of real women who were burned because of witchcraft accusations. In the mirror is a scroll, in the shape of an uterus where oral language reads: ‘ar yu squerd of mai tiars an mai blod?

Leaving Home

from the time my soft head crowned
through the red hole
and my mother’s spent muscles squeezed me
out of the watery place,
i began leaving home.
the empty tunnel that led me
from my first home
closed up and healed.
as i grew, i sloughed off years
like discarded snakeskin.
she saved the skins.
she wears them around memory’s neck,
to mark time to the cadence of
an ancient song
her mother’s mother’s mother once sang.

A Strange Tricky Game

The little showcase represents nothing unusual in connection to museum life if it were not for the object on display missing. One becomes aware of many suggestions and clues on the object concerned.

Simple tape markings on the bottom of the case and the glass say: FRONT, BACK, ANOTHER, ONE. The signs are to be read from the inside, not from the outside, thus we can read the direction from the side from which we are just looking out the showcase. The rest of the directions remains to be read backwards. To imagine to be in the case does not stop irritation, because the pane says FRONT is not opposite of the one which says BACK. It is impossible to relate ONE-ANOTHER- BACK AND FRONT to a single central point. Wherever one is standing, in reality or in imagination, we are bound to arrange these terms in a systematic order related to the surrounding space.

This space has to be considered not only around the vanished object, that is, the inside of the showcase, but also the space all around the showcase.

A Strange Tricky Game: contradictory and meaningful.

Journey of Love

Journey of Love is about the relationship between my mother and me. It explores the all-consuming physical and psychoanalytical paradoxes seen in this relationship between mother and daughter, and the problem-solving exercises that may inform one’s point of view about relationships, change, and seeing oneself among others. This exploration leads to the use of the needle and thread, and the act of weaving which symbolizes the journey in mending of a relationship. My mother is my best friend and she is loving, intelligent, patient and reasonable. To weave is to tighten the ties between us. Each act of weaving symbolizes my efforts to mend my relationship with my mother. The use of gold thread constantly reminds me of my mother’s skin because she seems to glow with such warmth and health. The needle attached in-between the weaves with some of the thread wrapped around it symbolizes the act of weaving or repairing which does not end but continues on a more emotional level. The experience in working on the box was illuminating and therapeutic, offering me not only an opportunity to reflect on my life, but also it gave me the strength to be closer to my mother.

Hidden Beauty

Real beauty is hidden and then found like a box of treasures. These textiles represent women from different regions of my country. A heritage that should be preserved for our children.

The words on the box are prayers: to make good choices; be a better person – humble, patient and thankful.

A Letter to My Mother

The box contains notes with words which were never said to her mother.

Dear Mother,

When I was eighteen, I bought you, with my first salary, a wooden jewelry box. You still keep it, treasuring it. Now, twenty-five years later, I’m giving you this box which treasures words. These are all the words I could have told you during our lives together, but wasn’t able to. These are words I should have told you, dear mother.

Here are all the missing words, just for you. It’s a wonderful opportunity to write them down, to feel their sound within my heart. To prepare a special gift for a special woman: my mother.

Your loving daughter,
Shuli Nachshon

The Women's Voices: Shuli Nachshon, Israel from WOMEN BEYOND BORDERS on Vimeo.

Personal Newspapers

Personal newspapers published 25 February 1998, is the only copy of this issue. By the time you see it, it will probably be old, illustrating how precious or meaningless yesterday’s news is.

Newspapers are like no other object in the world varying from necessity to inflation.

They are part of my project “The Exhibition of the local newspapers, 1994 – 1998”, which consists of indoor and outdoor exhibitions, and includes several authorial newspapers, created throughout Europe and the U.S.

Newspapers have always been only local, (authentic languages and interpretations), only their consequences can be interpreted globally.

Pressing Issues

In the tradition of the found object and the democratic processes of making and distributing art, I have made a mini printing press out of my cedar box. The box is now a stamp with a pad inside the box with pressing issues waiting to be revealed.

• Who controls female fertility?
• What happens to all the women and children who are refugees?
• Can women artists maintain careers into old age?

Therese Kenyon, Australia – Director, Manly Art Gallery from WOMEN BEYOND BORDERS on Vimeo.

Limitation

Each restriction, each limitation is just like a coffin.

Don’t dance, don’t see, don’t speak, don’t do anything and
don’t be what you want to be. . .

Each restriction, each limitation which annihilates natural desires and wishes is like a coffin overwhelming the spirit.

Although all through history and in many educational and governmental systems these coffins have been made for men and women, women have always been more victims of these restrictions and limitations or confined to these coffins.

 

Time Capsule

The objective of the project is to approach women of all ages, from all walks of life and of different nationalities, to express their views about what it means to be a woman in this age and time.

They were asked to express their concerns, worries, happiness or grouses, et cetera; basically, any subject that touches their lives and how their lives are affected as a result.

These expressions are kept in the Wbb box which is the Time Capsule.

It will be sealed for now, and it carries an instruction for the curator of Wbb permanent collection to open it fifty years later on 8 January 2051.