来自美国的艺术家
Tag: Natural Material
MY Life AND MY Lesson
Artist from Canada
This is La Benida Hui’s box, broken into pieces representing her “Life’s Lesson” by a hanging mobile. The Center is her art table and art tools, hanging from this space is the root of all things; Love.
On one end is the Ocean, made into a cross-like form; standing for the sacrifice of our home planet and our health at our own hands through climate change and pollution.
On the opposite end is The Green where nature items are bound together intertwined with Indigenous patterns. Symbols of whales and butterflies represent Life, Beauty and Rebirth.
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Virus Box
Nest
My grandmother gave me a necklace with a mustard seed enclosed in plastic when I was a young girl. She told me about faith. Having faith in God, in life, in myself, and if I had faith the size of a mustard seed I would be all right. I remember her often, especially during hard times, when it is so hard to have faith; but, maybe, faith only has to be the size of a mustard seed.
The mustard seed is enclosed in resin, in a nest of words, from an old sacred book of poems about love and life, sitting on a spring…waiting.
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Squirrel Pie
Culver City High School, Grade 11.
It doesn’t matter who you are and where you live, it’s what you make of it.
War Box
Since time began, mothers have nurtured, loved, taught, protected, cherished and raised their babies, then watched them grow to be killed in war or by war. This inevitable cycle will repeat itself for untold generations unless our mothers’ universal plea to Stop The Killing results in WAR NO MORE!
New Soul-Sole
As I move through this life I have…
Change has always been inevitable in these short years since I was born. I have re-invented, moved, transformed. Each time I fly high up in the sky, I look down imagining what will come. When I arrive at these new places, I resole my soul and begin walking.
Leaving the Nest
jumbled, preserved
leaving, changing, growing
blown away, chaotic, frightened, shattered
exhilarated, hopeful, remembering, loved
shaping, moving, forming
fragile, strong
nest
Box Camera
Box Camera reflects our life-long commitment to the photographic arts from traditional to digital. It is an homage to earlier technical forms of imaging.
The tintype of the woman with books hints at Penny’s profession as a librarian and bookseller and incorporates the idea of educating women to expand their boundaries. Photography is a universal language crossing all borders.
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In Memoriam
Six Interconnecting Planes Of Carbon – One Diamond
I wanted to eradicate the borders of the box and create an open field, so I took the lid and four sides off and placed them flat. I then reconnected each rectangle to the other from the back by using black velvet for hinges. Once I had this field of interconnecting planes, I thought about how over time, the possibility lies the hope for the future. I then burned the field of interconnecting planes, turning the wood to carbon. Within the central rectangle (that had been the bottom of the inside of the box). I inlaid a diamond to demonstrate the reality of evolution. The piece is to be either hung or placed flat, IN THE HORIZONTAL CONFIGURATION AND NOT vertically. This is quite intentional to allow for a broader reading than a figurative (totem) placement would permit and is, I believe, visually more consistent with the concept.
Grass Roots
Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.
Judy Kleinberg, MAYOR OF PALO ALTO and Sharon Chinen, ARTIST.
The mayor’s interest in growing a healthy community is represented in the roots of this piece. The box is filled with the soil of Palo Alto, laid down as a rich foundation for the small red berries which represent the children of Palo Alto and education…two passions of Mayor Kleinberg. Our roles as women, teachers, caregivers, leaders — the flourishing community of which we are all a part — is finally represented by the blossoming trees that reach out to the world at large.
The Childhood
I spent my childhood hiding in yellow rice in the beautiful sun-filled countryside, cheerfully crying out for an egg in a straw mat or discovering shiny shells.
The memories are carefully retained since that distant time.
Conjugation Between Earth and Sky
It is commonly known that in order to survive, blossom and continue the course of nature, it is necessary to intervene with our surrounding habitats. This lid symbolizes the ever lasting sky and its thousands and thousands of living species that are endangered by daily air pollution. The bottom represents our earth, life and death, the moments of glory, agonies of defeat, and on going war and peace.
Between this conjugation, we define sacred love for human beings and nature, our dreams and desires to fulfill a glorious and promising future.
In the end, conjugations of any type: earth and sky, man and nature or man and its kind must be cared for and preserved. The lack of attention to this contributes to the heavy consequences that we face today: the holes in our ozone, the wars and its death toll, last but not least the AIDS epidemic.
Drvo-Tree
Process of creating this wooden box is returned to its beginning. The earth is in the box and the seed of the tree is in that earth. My contribution to fight the international destruction of floral life.
Pride of the Womb
Forging ahead in the women’s movement does not mean women fighting against their unique physical inheritance. It means uplifting themselves into more exalted positions as women.
Un Tiempo Interior
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).
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Garden of Eden – The Last Apple
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.
Damagua
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.
Box, Necklace, and Bracelet
Cancer
In the past
people asked me
sometimes
what is your sign
and I said
cancer
because I was born
on the 6th of July.
Now I got the disease
or the disease got me
and I hate
this word:
cancer.
I lost my hair
I lost my breast
and I may lose
my life-
who knows-to
cancer.
But I am not alone
185,000 women a year
are getting it and
we are all asking why
cancer
Why all the poison
in our food, our water,
our air, what did we
do to nature, where
is the F.D.A.? It is not
only tobacco which is
killing us. How can we
fight the enemy
cancer?
Song From the Earth
My work celebrates the Native American philosophy of centering one’s life in the natural world. This is both a conscious and instinctual commitment. Rather than illustrate this idea, I use materials to suggest our relationship to the earth.
On the brink of the new millennium, let us all be mindful of celebrating and preserving the earth’s gifts. This should be a universal concern.
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Demon Seed
Pandora’s Bomb
Fecundity
Come on Breathe!
Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.
Dolores Huerta, SOCIAL ACTIVIST, LABOR LEADER AND CO-FOUNDER OF UNITED FARM WORKERS
Grace Elizabeth Davis, WRITER, MOTHER AND MARATHON RUNNER
These trophies are awards to the plights that we face as women.
Dolores Huerta wanted to help her students who came to class barefoot and hungry. Through her community work she co-founded the United Farm Workers Union. At 76 years old she continues to lecture and lobby for the UFW, a model used by global labor unions as a testimony to the rights of workers.
Grace Davis, writer/runner/mother, known for “Katrina Relief” brought aid to the hurricane victims of New Orleans, the first to use blogging as a medium in disaster relief.
In our endeavors, our lives can be in danger, our pasts can haunt us, our vulnerabilities can be exposed.
Unselfishly, women strive to be all things to everyone; we endure the odds guided by our passion to care for our world families.
Life After
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Old Country New World
Separation
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.
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.
Mamas and Papas
They fought for the soil, for the children to mourn on.
Mother Ireland
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.
Tread Carefully
I have attempted to interpret the fragility of human nature, the openness and the trust which gradually closes from fear and self preservation. “Remember The Day Someone Gave You A Chance” is from a non violence poster, in it a lid had lifted from a jar and a butterfly flew free, free from fear, free to dream, to imagine, to love and to be loved.
A Falcon or a Great Song
Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.
LEASA MAYERS, PRESIDENT, CRG EVENTS
In talking to Leasa Mayers about her life – her family, and her work promoting others in their ventures, the powerful Rainer Maria Rilke poem, “Growing Orbits” came to mind. It inspired me to transform the plain wooden box into a cradle holding a bird’s nest with eggs to honor Leasa’s endeavors; her creative spirit, her effective nurturing which helps others to take flight.
Yoriko
Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.
YORIKO KISHIMOTO, VICE MAYOR, CITY OF PALO ALTO and Jen Schachter, ARTIST.
A photo of Yoriko as a small child with her parents and older brother in Shizuoka, Japan flies from the branch of one of her favorite trees, the maple, signifying her love of gardens. The trail reflects her journey from Japan and her love of travel while the mountain symbolizes her love of hiking and mountains, and her desire to “climb to a high place and see as far as I can”— hence the binoculars.
The central image is her interest in the 4 elements — earth, air, fire and water. Earth is symbolized by a clay container I made (I am a potter) and the water by blue glass that was melted in the clay container.
There are so many aspects of Yoriko’s life that are not included, but through some mysterious mental process, I have focused on these ideas and presented them in this way.
Femme
Coast US feminist artists, revisited by key artists of the 1990’s. Exploration of vulval imageries allows me to consider female desire, seduction and discipline, and the role-liquidity of queer sexual play.
The metaphorical cultural veil of a socially/culturally formed feminine is materialized in my use of empty but sexually encoded garments (the little black velvet dress. lingerie, leather, corsetry, gloves) to stand in for the female body. A self-consciously feminist erotic is proposed, carefully controlled through allusion to the actual body, through textual ‘cunning lingua’, through acknowledgment of the seductive territories of sado-masochism, fetishism, voyeurism and exhibitionism, and through awareness of the potentially mulitiplicitous desirous nature of the gaze.
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Heartease
This box is about joy and renewal. Everything begins and ends, lives and dies in circles. There is such power in each little thought, small gestures and tiny boxes. The heart is a sure image of love, feeling and strength. It has infinite capacity for both great joy and great sorrow, even after the ache and grief of loss:
The core remains intact.
Pink budded, protected
with swathes of leaf,
and occasional thorn.
Gaia
I put earth into Pandora’s box, enclosing meaninglessness within. The box, decorated with various symbols and colors signify the contents. The edges and corners are softened.
The enclosure of earth becomes an oxymoron. A small portion inside stands for the universal. The box is a prayer to the larger form from which it was taken.
The pins refer to the sensitivity of a living body that will feel pain by being injured, but will also start to blossom. The GROUND/ SOIL/ EARTH as READY MADE, an allegory of GAIA (earth), the UNIVERSAL MOTHER AND LAST HOPE.
Intimate Fragility
We are born into an intimate relationship of close bodily contact with our mothers. Touch is so basic, the mother of all senses that we tend to take it for granted. Without our noticing it, we have gradually become less and less tactile, more and more distant and physical untouchability has been accompanied by emotional remoteness.
The most tactile receptor on our body is the skin, and with force can be torn to shreds like our emotions. The symbol and carrier of life is the egg, characteristically feminine and fragile. The shell of an egg appears hard, tough skinned, breading through to the secondary layer its protective skin, we find it thin and fragile.
Material alone can define work, if perception is directed first to the material, the ideas in the work are often undervalued and the message becomes secondary to the medium. Hemming in the box in fabricated egg I have reinforced my ideals.
Pam’s Tear Box
Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.
Pam Praeger, VICE PRESIDENT OF LEARNING, SPOKANE FALLS COMMUNITY COLLEGE
One of the first things that Pam said to me was, “I don’t know if anyone mentioned it to you but I lost my daughter in May and I’m still struggling with the loss.” She said it almost apologetically. As I got to know Pam it became clear that Tara, the lost daughter, set a high bar for her mother through the lessons she taught the whole family during her dying. I also learned that Pam and Tara are a lot alike. Even in pain Pam’s first impulse was to help me. I knew instinctively that it was also what Tara would have done. I am grateful to Pam and Tara for their generosity and honesty. During our time together Pam cried more than once and each time she seemed at a loss about what to do with her tears. So I’ve made a Magic box for those tears. Its capacity is endless.
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.
Legends of Tundra
Bird of the Forest
Love
Teen Box. Culver City Highschool. Grade 11.
My box was based on the book of I Corinthians 13 in the Bible. Love is not something that is jealous, boastful, and impatient. I used the last verse:
“And now these three remain: faith, hope, and love.” But the greatest of these is love. The box represents love itself, with in it are the mustard seeds which represent faith because God said “if you have faith as small as a mustard seed, you could move mountains.” The stars represent hope. The leaves in front of the box symbolize the growth of love, that it never stops getting better.
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Representation of a Population
Culver City Highschool. Age 12.
My box is a representation of my population, African Americans. Throughout history, my people always had something to represent. From the motherland to this present day we have represented life, struggle, triumph, and perseverance. But as we begin a new generation, what do we have to represent now? What do we have to show our future, besides being a statistic?
A Mother’s Treasure
A Mother’s Treasure was created to depict an experience that women share in common– the love and nurturing of our children. The symbol that came to my mind was baby teeth. Every child in every culture sheds its first teeth, and everywhere mothers soothe and celebrate this rite of passage from babyhood to childhood. Just as my two sons grew up and moved into their own adult lives, I give up my treasure – their saved baby teeth – to make a rattle to distract and amuse other babies in other places. Loving greetings to all the mothers and their young.
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Eternities
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.
Gift
Washed Up
Culver City High School. Grade 12.
Through the open seas
Now I am being driven
By an old rusty ship
The winds beat down on the deck
And the sails are always slipping in my hands
To the places I want to go
And there where I shouldn’t go,
But the ocean has chosen the way.
The Fish
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The Rat in the Hat, a Porcupine in a Tie, the Nude, and a Pierced Ear
Life Cycle
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.
House Animals (1986-96)
A box with eleven animals in cellophane envelopes, on each of which its name is written.
Fly (Agnes)
Moth (Monika)
Butterfly (Ilona)
Butterfly (Gertrud)
Fly (Karen)
Bee (Lisa)
Moth (Edith)
Bluebottle Fly (Karl)
Cutter (Isolde)
Spider (Martha)
Beetle (Helmut)
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.
Burial of an Artist
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Vietnam’s Mother
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…
Shoe Box
Shoes are also an important artistic expression for me. You see, as a walker, shoes are to me what cars are for others. They transport us from where we are to where we want to be.
The first box in my Women beyond borders series, represented women as guardians of the treasure within. “The Guardians R Us” 1996.
Now, the third box in my series releases part of its contents. The missing shoe mate and box top travel to Europe, entitled “Left Shoe Looking For Right” 1999.
Fate
FATE — Pine cones in a pine box, enough said.
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.
If We Take the Thorns Out…
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The critical point that reflects
and fuses inanimate sensitivity
with nature’s understanding.
The differentiated shadow of dreams.
The resonation of conception.
The shearing of thought.
Spiritual Evolution.
Inspirations more archaeological than literary.
Hommmmm
The Silver Platter
Missing Piece
To me, a basic unchanging form is the most beautiful, no matter what period of art you are examining. For any material or event there exists a basic framework. Within this basic frame, there exists a core which comes through the work of art above all else.
I use many materials, but I especially like to use materials with soul in them. I then strive to create a work in which the essence of the materials shows through. I would like to create artwork with a central form of happiness, pain, or sadness.
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.
What I did for love
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There is a longish black stone in the small box.
Voice Box
Voice Box is a reminder of the fertile, nurturing potential of women’s words and the pain that women endure in trying to speak those messages. It contains powdered milk and an egg licked by tongues of flame and so marked with soot.
materials: wood, powdered milk, soot, paint, paper.
Salzkiste
Boxes for salt
Boxes of women are filled with
Desire and wishes
Therefore mine is filled with salt
Slick Chick – A Balancing Act
Age takes slick and chick
But eggs so perfect go on
And on
To feed the fragile Universe
And return and recharge and provide
Time and time anew
The best nests everywhere.
Beyond borders
Or difference we nurture
And yet strut our stuff.
No dumb clucks- we chicks!
You know…we have something worth crowing about…
Num-Num
There is the inside, the outside and all around, there is life, there is death and other lives, there is oneself, none and all the others, there is light, dark and dusk, there is laughter, there is brightness, transparency and it can be opaque.
There is but, maybe and also, a little, nothing, and all the colors, all the fantasies, all the eyes, all the souls, all the sounds, all the noises…
…there is everything in and under every form.
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Psalms to Ellul
My work comes from a very far and deep past including the meaning of personal memories and a hard political situation which is part of me. I try to express my existence, tough and sensitive sensations, by different elements used in this work.
Zen Box
My Treasure
Our House, Our Home
I am sure that you would be attracted by the beautiful landscape of the Vietnamese countryside. The lush, expansive fields spread wide and the rivers flow gently into the silent sunset.
There is one thing that is so much a part of our lives…the thatch-roofed cottage. No matter where we live, we conjure up images of our cottages when we get homesick. They are remnants left behind by our ancestors from a long time ago. They are features of natural beauty of the Vietnamese countryside. Do you know that although they are made of simple, natural materials such as different types of bamboo and palm leaves, they have covered us during rainy and sunny seasons. Some of the houses are built on stilts to protect us against floods and the attack of the wild animals in the night.
Seeing is believing, so we hope that you will come to my country, if only once to see the cottages. You will love them as we do.
Keep Pacific Nuclear Free
The Flow of Time
Jewels of Fiji
Lettner – Letter – Brief
Fe-mail box
Place Hotel
Awareness goes back and forth between the reception of the piece of fake chocolate and the reception of the model of a seemingly dislocated house.
Question: Would you possibly, lost in thought, make little balls out of the wrapping paper of the chocolate that you have just eaten and/or ever tried to penetrate the deeper meaning of the many ways of reoccurring walls?
Coffer Nephesh
The box, covered with lead, contains the soil of Israel. The phrase coffer nephesh in Hebrew, refers to ransom. Literally the word coffer means ransom and the word nephesh means soul.
COFFER: Like all objects whose essential quality is that of containing, it sometimes acquires the symbolic character of a heart, the brain or the maternal womb. The heart, the first of these meanings, is a figure characteristic of the symbolism of Romanesque art.
In a broader sense, receptacles which can be closed up have, from the earliest times, represented all things that may hold secrets, such as the Ark of the Covenant of the Hebrews, or Pandora’s box.
(J. E. Cirlot, A Dictionary of Symbols, New York)
Pusa
Con Licencia
Huir No Es Posible
Agua Para La Difunta Correa…
The Bible
Then the Lord God made the man fall into a deep sleep and while he was sleeping he took out one of the man’s ribs and closed up the flesh. He formed a woman out of the rib and brought her to him. Then the man said, “At last here is one of my own kind.”
Genesis v, 22-23
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If I could place history on a light box
and make its face transparent
I could illuminate its unseen structure
upon which its strength depends.
Volcanicas
Jewelry Box (Volvoi)
Aves Migratorias
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Top: apple
Images: flower, river, high mountains, rainbow, flower and rainbow on top
Inside the Box: yak cheese
Cobijado Vida
Withdrawal
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.
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Irony rescues the idea from remaining in an abstract area so it can transform itself into fact, mobility, into continuous experience. This is the basic idea behind my work.
Taking apart the governmental apparatus in which the situation of the woman is always in the background; the critical observation of the external is accompanied by the capacity of my own recognition. Then the work surges from a free montage of connections of images and thoughts.
Welcome
GRRRLS Australia Teens project.
Permanent Love
“Love’s over brimming mystery joins life and death.” Tagore
In former times, Romeo and Juliet could not remain together, and were willing to die side by side. In recent days, the modern Romeo and Juliet ran from the Bosnian siege, also dying side by side. How many such unhappy love stories are there over the world?
I believe in destiny. I make this box as a coffin, with the wish that it is the house of girls and boys, women and men who love one another, yet are not able to become man and wife. This box is a love coffin for Permanent Love.
Men and women in love, whether old or young, may die, but their love still remains, it never dies. They will lie in the same coffin, and pray to live together in many future lives.
La Anunciacion
Keeping the Lid On
I am interested in the matters of the psyche and how that is reflected in everyday life, as well as myth, symbol and stories. This work Keeping the Lid On could also be called a bee in her bonnet or stirring up a hornet’s nest.
Jan Fieldsend from WOMEN BEYOND BORDERS on Vimeo.
Transparent Box
Ojos Para Ver el Mundo
Web of Complexity
As an artist, arts educator and mother of two daughters, I continually open small doors. Doors can be understood as metaphors for insights into life, as they shed light on the personal, social and political issues that impact our everyday lives. As we navigate through these doors we find a continuous reconstruction of our own identities. The dialogue within the box, and its door, conjures associations concerning questions of history and healing. Gauze, from my grandmother’s tombstone, is soaked in beeswax. It covers the wool felt, which surrounds a vessel housing the fragments of body tissue.
Drinking Well
Love Death
Loves Me – Loves Me Not
To be loved by the person one loves is everyone’s dream. It is a simple and obvious feeling, yet often pregnant with anxiety. Am I really loved by the one I love? To answer this question many people – or at least young girls – have picked daisies in the summer and plucked the petals to get an intimation of fate’s understanding of the other’s feelings.
That love is not a simple matter is, perhaps, one of our earliest lessons. We must hope that the daisy petals have not been disruptive of health or future. But in former times it was common to try to influence one’s love-life with various herbs. In his anthology Om Folkmedicinens Lakeorter. (Medicinal Herbs in Popular Medicine- 1981), Matts Bergmark has listed plants that are aphrodisiacs, as well as otherwise beneficial. The Valerian root has, for many centuries, been connected with many properties. Its French name is guerit tout, cure all, and in Egyptian mythology it was connected with the cat family and the subject of special worship. In Norse mythology Valerian was connected with Freja. It was an ingredient in aphrodisiacs and, with Mistletoe, was considered to further fertility.
But if fertility has been sought, the fear of giving birth to an unwanted child has been all the stronger. Juniperus Sabina, a relation of the Juniper, is filled with volatile oil in its branches and has gained its name, Sabina, from the Sabine people who lived near to Rome. A decoction of Juniperus Sabina was widely used as an abortifacient. But if the fetus died the mother frequently followed it into the realm of death. For a mere six drops of the ether sufficed for an overdose leading to a painfully slow death.
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Links
Women’s links Drinking coffee at 1000 parker
go beyond borders Coffee stains on my mind
Grains-cross-grains Grains-cross-grains
not beyond borders Coffee grounds borders
North
South
East
West
Earth-stones-crystals
fired by earth’s center
Air
Water
Earth
Fire
Coffee Drips into this box Coffee drips into this box
I pour it out of the four corners Coffee stains the wood
North
East
South
West
Drinking coffee at 1000 Parker Coffee dripping into this box
Thinking of you Vancouver, B.C., Canada
Air
Water
Earth
Fire
Drinking coffee and thinking of you Thinking of you
Drinking coffee Coffee stains on my body
North Coffee stains
East Coffee grains
South Coffee grounds
West Coffee thoughts
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Agora
Seeing
Seeing is believing. While communicating with community, the residue I experience? It is the vital input that I am going to develop mutuality with my community at all times. And, the control interaction with relationship. The mental collection of past and present is an endless experience. To contain the invisible content of the input and output of the experiences I encounter. Therefore, the reflection and exposure is to show the multiple irreversibility of the community through mental forms.
Chosen Journey
Let Go
A Womb of One’s Own
Mime School
Abject Expressionism
The workings of a patriarchal symbolic system have long associated culture and mind with the masculine (esteemed), and nature and body with the feminine (constantly devalued). This work attempts to reevaluate that which is defined as inferior by deliberately using a body part that refused to fit into any particular definition. Hair– a symbol of sexual prowess (or lack of for the Western nudes)– also acts as a “momento mori”, marking lack. It is a significant abject material, highlighting the slippage between opposites, the living and the dead, the sensual and the repulsive. Because it stands at the borderline separating the inside and the outside of the body, it holds simultaneous powers of fascination and horror. The weaving and braiding of hair in this work act as a metaphor for the bonding and networking amongst women.
Face
Soon after the birth of my first child, I became aware of a sense that on a grander scale, all children were my children. Universal.
I am now a grandmother for the first time. Mostly, I am happy. Sometimes I feel sad, maybe a bit jealous because I no longer carry the egg that becomes the baby. Look at my little grandson in utero. He is perfect, just like the one perfect living cell, the egg. What gift this is that we may, “…bring forth those who bring forth.”
Singapore Sling
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.
Songbird
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I-Eye
I/Eye is one destination of a journey, the result of dialogues with a group of close friends and family. It is a fluid look-see at the emotional, intellectual and artistic issues of life; equally, a way of looking at my art and myself. I saw the box as very personal, as the baggage or the tools, both good and bad, given to me, with which to live this life. I have set this box within a fence that is open and yet enclosed, transparent, yet opaque. It marks personal boundaries. On this fence are the eyes of friends and family sketched as we talked. Their presence is about seeing eye-to-eye, or not, having them to look out for me, helping me to look at myself with creative eyes. The box was always meant to be the most transmutable part of my project, it did change, move and let itself be affected by this interactive process. Its final form, then, is one that signifies growth – a sort of literal ‘breaking out of the box’ to explore one’s potential, whatever that may be, wherever that may lead.
My Little Room, My Heart
The Pride of a Woman
Beauty of My Waist
Way Forward for Women
African Woman
Enter the Narrow Gate
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My pictures express to me the love you’ve shown us, the courage and zeal.
I have appreciated the training, especially the relaxation therapy, it helped me a lot. I thank God who put us together in his own way. It was not by our own will.
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Green, yellow and blue are the colors of our flag. Rwanda, a nation recovering from the blood shed of man. The red doom is the symbol of Genocide and the white cross with the bleeding heart of Jesus, who sacrificed that Rwanda be made clean, symbolized by the white cross.
Yellow is sunshine, hope for Rwanda. Green is life and growth and blue is reconciliation, possible only though the blood of Jesus.
Personal Dandelion Patch
Ripened Fruit
“This world is a tree to which we cling–
we, the half-ripe fruit upon it.
The immature fruit clings tight to the branch
because, not yet ripe, it’s unfit for the palace.
When fruits become ripe, sweet, and juicy,
then, biting their lips, they loosen their hold.
When the mouth has been sweetened by felicity,
the kingdom of the world loses its appeal.
To be tightly attached to the world is immaturity;
as long as you’re an embryo,
blood-sipping is your interest.”
– Mevlana Jalaluddin Rumi
A fascination with seeds, seed pods, fruit of both tree and vine accompanied my own struggle with fertility. What appeared to be fallow in my life gradually evolved into a period of regeneration and rebirth. At present, these familiar forms reflect the renewal of my work and symbolize the opaque and marvelous mystery of the human life.
This box is lovingly dedicated to Mary Interlandi: May 20, 1983 – February 10, 2003
Family Bed
I’m three years old. I made a five-decker bed because I want my family to be together. My papa works in Jakarta four days a week and I miss him. I also love double-decker beds but papa said it is too dangerous for children my age. A five-decker bed will be nice–everybody can sleep together and Babybathtub (my doll) can have her own bed. I wanted to have a five-decker bed and mama helped me saw the box. Papa is very old, his bed has many beads–my hands get tired and Nadene che che helped me with the sticking. My bed has three beads because I am three years old and Babybathtub is only two.
Pat Chen, Regina Law’s mother
Nurture
We take care of things that are important to us. The females of most species are considered to be nurturers and keepers of the “nest”.
Being and artist has allowed me the opportunity to nurture the things that are most important to me – represented by the golden eggs in the nest of brushes. I care about many things and to limit myself to representing just four became a daunting task – I thought about Peace, Love, Compassion and Creativity, but upon reflection each day, the list grew. How could I not mention family, good health, rich soil and clean water, friendships and the miracle of simply being whole?
So without putting words to the golden eggs, I’ll leave it for those who view the art to ponder…How and what will you “nurture” in your life? We must take care of what is most precious to us.
My House, Bed, and Pet
Women’s Unlimited Potential
This little box reminds me of a woman in the olden day, which a woman can only do things within this little space. What is a woman identity today? Woman is no more constrained within this space. Woman is full of wisdom and Unlimited Potential.
She can transform herself in various forms.
She can express herself just like the color in the palette.
She can express her creativity just like a tree…so full of energy.
She can transcend all her cells to enliven this society.
I’m that Woman with Unlimited Potential!
Emerging Woman
don’t judge me on how I look
don’t assess my usefulness with inverse proportionality to the size of my waist
you will not measure my true worth in inches
don’t use my breasts to see a product that has no connections to my body
if my thighs are large
it’s because I use them to support myself
if my stomach is rounded
it’s because it is full and fertile
my face–my eyes, my smile are not important
I am a woman and therefore beautiful.
Hatred, Unity, Rwanda
Third Eye
Wind of Change
Peace Fetish
The wrapped bundle of sticks and feathers is my peace fetish. I have placed it in the box of babies. It speaks for itself, I hope.
Jewelry Box
Pain
Teenager Boxes, Culver City Highschool, Grade 11
Angst of Thought
Indra’s Net
“In the heaven of Indra, there is said to be a network of pearls so arranged that if you look at one you see all the others reflected in it. In the same way each object in the world is not merely itself but involves every other object and in fact is everything else.”
– Translated by Sir Charles Eliot from the Avatamsaka Sutra, approximately 500 BCE
Lorraine Serena furnished the box
Julie Coale suggested these pearls
Sylvia Hyman recommended Sherry Male for drilling them
Tyree McFarland provided the silvered glass and the glasswork
Daisy gave me the idea for suturing thread
Dr. Dee Dee Fredin supplied it
Dixie Gamble manifested the replacement glass
and Jane Braddock buttoned it up
women’s network.
Mosaic
Cosmic Blue
I learn to speak my truth, my voice having been stifled by a paralysis of childhood origins.
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This box of boundaries and borders of seams and skin-colored patterns uses the images produced to explore the possibilities of connection. By using these borders between colors of skin as a connection instead of a boundary of separation, it creates a quilt-like or map-like pattern. The connection of the visual image similar to a map and the intellectual understanding of different ethnicities throughout the world attempts to introduce the possibility of these coming together beautifully without attempting uniformity.
This cloth covering, this skin is also superficial. This cloth is synthetic and covers the box almost completely, except for one run in the stocking and one square wall inside the box. These show the natural wood underneath this cloth skin, the same wood each woman began her box with.
The images produced from this quilting of panty-hose is almost primitive and yet the material is a symbol of progressive, fashionable women. The appearance of smooth, uniformly colored legs has been considered beautiful in Western Europe and America for some time now. This aspect introduces the difference in perspectives of beauty.
Sewing with my hair weaved in the traditional concept of long hair as beautiful and feminine. This image of women’s long hair is in many regions and reminds me of the many places I find hair I have shed, in the bed, in the shower, on my clothes, on the floor. Historically in some areas women used to sew with horse hair. The concept of women’s hair connecting many regions twists the projection of beauty into a powerful relationship where the object that was used as a thing to look at, now fulfills the position of bridging the boundaries, of connecting the borders.
The process of sewing this box reminded me of the women throughout the world who sew for their families and communities. They create to keep people clothed and warm. The process is time consuming and requires patience and care. The needles remain hanging from the box by hair and thread because we are still in the process of sewing our borders and recognizing our differences and using these to create a new understanding, a new connection of women artists around the world.
Nesting Angel
Liberated Women
Emerging Spirit
From Within
she draws breadth.
The spirit
emerging…
extending.
beyond self.
Vigorously
animated,
Her essence
evolving.
Flourishing
in community
beyond borders.
She emerges.
The invisible,
invincible
Spirit.
The Poppy Field
My nickname is “Poppy”. I go to school at Tanglin. I was born in Singapore. My friends come from different places. I have two brothers but no sisters. I go to England every summer holiday. Whenever I go to England to see my Granny and Opa, I see poppy fields. I love them and so I decided to make a sculpture of a poppy field. It reminds me of my holidays. I put airplane wings on my sculpture because we fly to England to see the poppies. I love living in Singapore but I miss seeing the poppy fields. Every year they sell fake poppies at Tanglin. It is on the day the great war finished. Opa was born when the war finished.
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Garden Carriage
Children Beyond Borders. VSA Arts.
Age 10.
The box reflects me because it’s quiet, pretty, and full of flowers.
Indigenous Materials – My Attributes…
My Tidy List of Terrors
Eternal Secret
A twinkle of infinity
is whistling through the universe
carrying a secret.
Model of Intimacy
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I am wary…
I am cautious…
I am conditioned…
I have hardened…
I am protective…
because I am vulnerable.
I am sensitive…
I am emotional…
I am afraid…
Take time to understand me.
Within is my core,
my soul,
and my heart.
I will unfold…
and reveal to you…
me.
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.
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.
Grief Repair
All is metaphor, even that which we may take as fact. Human logic is fragile. The box may represent a construct of human logic. Boxes do not occur in nature. It contains wax with the translucency of human skin, threads, a needle and blood. The needle under the “skin” is a metaphor for the grief of women all over the world in their efforts to keep love and the grace of human relationships and community whole, despite a world which seems eternally based on war and conflict. The needle is used for healing. The box is a prayer for continued courage and creativity.
She
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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
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.
Constraints Faced by Contemporary Women
This work seeks to explore and express the constraints faced by contemporary women who live in public housing apartments–also known as Housing Development Board (HDB) flats–in Singapore. About 86% of Singaporeans are housed in these HDB flats. Like the vast majority, I too live in a HDB flat and one of the personal constraints that I face is the lack of physical space. This inspires me to conceptualize the given wooden box as a block of HDB flats with many dwellers within. Each of the niches in the box represents a female dweller. The different constraints faced, ranging from physical, emotional, mental, and social to religious realms, are reflected in the interior decoration of the units and the contents of the ampoules. Women from different phases in life–teenagers, singles, married with and without children, and retirees–are invited to participate in a survey, and their views are expressed collaboratively in this box.
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Before 1994, our country was good. After April ’94, blood was shed. Many people died and the majority of genocide survivors are struggling with life.
So, the telephone you see is calling for help. We believe that God is the first to come.
Inside the box, there is my heart. I will never forget my relatives, my friends, children’s blood…
The blue color means that I hope to live happily. Jesus will take me with him.
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Ambiguity
My Culture My Pride
The Maasai are a pastoral people who live in Kenya and Tanzania in the Great Rift Valley of East Africa. The Maasai believe all the cattle on earth were given to them by God. The Maasai way of life is spent in moving from one place to another in search of grass and water for their herds.
Today, the unique customs and traditions of the Maasai still exist and are treasured by them. Great effort must be made by all to see that this treasured culture is preserved for the future.
By revealing this beauty of the Maasai people, I hope my contribution in some way helps in the preservation of this priceless culture.
The small portrait is of a Maasai woman painted on a fragment of a special and very useful “Oleleishwa” tree. The tree is used by the Maasai to clean calabashes for milk, as perfume, for making clubs and thatching beds.
Make a Rhythm Called Silence Next to Transfiguration
Soundless loud voice
Silent move
If no sound is the loudest noise which someone gives,
Silence is an allegory only for some.
Organisms bring silence, rhythm and perfection. The shape of the organism and the balance of energy is given out by the organism through me, naturally.
Why is the shape made by nature so fluent in spite of taciturnity? It may be a wrong thing to deform a complete thing by making over it as a work. But I think that meeting the “thing” is going to be much wider by adding my power and moving the space.
A space has energy, resonates with energy from objects, makes a noise and rhythm, hops, bumps, and bursts open. The organisms soundlessly cross between their energy and ours.
To embody “the voice” is my hope, and it is pleasant to have a relationship with it through my work.
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.
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“Send me silence in a box from a far-away country.”
-Yona Wallach
Eternal Magic
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Garden 1:100
Jewelry Box (Masi)
Kitsune/Inari
Of Sticks a Stack – a Stake (a Failure?)
Listen, don’t tell anyone: I failed at the object/box (by the way a daily experience, not at all new). But here’s the result, just look at it: everything twisted, turned upside down; the lid, instead of dropping it, has become the basis of a stake (surprise, surprise!). Too small for burning witches, too small for celebrating heroes, but small enough for the kindling of a stirring idea.
Kamen/Stone
I want to send you a small part of my country
Bosnia & Herzegovina.
This is a gift from me to You.
Constructivismo Descontructivismo
El Secreto II
Whittle Box
My whittle box was created in a moment. I wanted to express through the box something which was inherent about my life as a woman now.
When I began the box, I was looking after a recent exhibition. With time on my hands and feeling at ease and relaxed, I began to craft the box carefully smoothing the edges and finely sanding the surfaces.
I put the box away, took my exhibition to another state and on my return found myself overwhelmed by things to do. Every one wanted a piece of me and I wanted to do it all, but I found myself being whittled away, becoming more fragile with each passing day. I carried my whittle box around with me everywhere, waiting for an opportunity to work on it.
Finally after finding myself locked out of a premises one day tired and frustrated, I took my whittle box out of my bag and began whittling and stuffing the wood shavings back into the box the way I wanted to try and renew myself. After a few hectic minutes of total expression I fell asleep.
My whittle box is an expression of the frustration and fatigue felt by those who give until it hurts, stretch themselves to the limit and find that sometimes, they lose sight of themselves.
Stone Upon Stone
“Stone upon stone is our house on top of the hill White in sunlit dawn and in the moonlight green And betwixt one night and another, We know nothing but waiting.”
– From July in the City, a collection of poems by Palestinian artist, novelist and poet, Jabra Ibrahim Jabra, 1959
In these devastating times of deliberate, pitiless destruction of homes, history and peoples, I defiantly built an edifice of stone to celebrate the future. It is a shrine, a shelter, an obelisk for all those people and countries whose future has been brutally marred and who are denied the chance of generating personal and collective memories. For, as every stone touches another stone, so does memory–it is created by an ageless, unbreakable bond between the past, present and the future.The stones used are ancient Byzantine mosaic cubes collected from near an archeological site in Palestine. The mortar to fix the cubes together is an old Palestinian building recipe.
I.T. Image Trap
I.T. Image Trap is derived from visual images of women. Women tend to be regarded more as ‘ornaments’ than the opposite gender and this resulted in a human condition where attention is focused on physical attributes than on what lies beneath. I.T. Image Trap has an ornamental quality and it possesses as the ability to deter from being simply regarded as ‘surface beauty’ which could be replaced or be out of fashion. It aspires to be considered as a work with endless possibilities, meanings and pleasant surprises. Just like any sensible woman who wants to be looked upon, I.T. Image Trap teases one to unmask the trapped image within.
Speak
What would happen if one women told the truth about her life? The world would split open.
-Muriel Rukeyser

