生命是美妙动人的音符。总想留下片刻的记忆,细细品味。相机胶卷中存储的内容是一种爱好。照片让珍贵的相聚瞬间,留住瞬间的永恒。
Tag: Photography
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
Suffering
Life
On the Way to the Rodeo
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.
Seasons
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.
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.
In Memoriam
Shadow Box
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.
Fire in the Belly
Piel Vacía
Following Examples: An Exhibition
Because I am a curator and not an artist, I decided to organize a miniature show for Women Beyond Borders. The 10 featured artists were given a dimension of 1-1/4 x 2-3/4 inches and told to make something flat. The visual artists I invited are people whose work, lives and friendships have inspired and informed my life in a meaningful way. This is an extremely personal project and I wish I could have included something by all the others whose creative lives have proven to be exceptional examples to follow.
Barbara Berk
Angie Bray
Karen Brown
Jacqueline Cooper
Eileen Cowin
Kim Cridler
Kathy Haddad
Danielle Imperiale
Sari Roden
Liza Ryan
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.
Este el es Misterio # 2
Family Positives and Negatives
Untitled
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.
Justica
Tajima Box Project. An artist and an extraordinary woman collaborate to create a box.
Julie Su, Esq., LITIGATION DIRECTOR, ASIAN PACIFIC AMERICAN LEGAL CENTER, RECIPIENT OF THE MACARTHUR GENIUS GRANT and Nancy White, ARTIST
Too often, we fail to think about where the clothes we wear actually come from. Clothes, like this necklace, are worn, but they are also made—made of fabric sewn together by human beings. Women workers are the faces behind the garments we wear, hidden as in this locket, invisible, yet upon closer examination, resilient, strong, able to rise up against exploitation and sweatshop conditions to raise one voice, in many languages, for justice.
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.
Mamas and Papas
They fought for the soil, for the children to mourn on.
The Family Box
Croash Patrick
Time to talk to learn memories from the past
Pick up after the loss of some of my family
Hope in peace beneath the wings and carry me away from strife
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.
Moving
Jewels In My Crown
This collage was inspired by the fact that much of my working life has been spent with children. I also included my own children and other members of my family and friends who have been supportive of my efforts. It encapsulates lots of memories for me.
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.
Gold Rain Leaves It’s Traces
Aura
Mosaic
This box represents the beautiful mosaic of children in the United States. The girl holding the flag is my niece who was recently adopted from an orphanage in China and became a U.S. citizen.
Untitled
Para Olvidante a Ti
Tahiti in a Box
Journey #17
This box, a part of the Journey Series, combines elements as diverse as Egyptian funeral boats, Vietnamese river craft and streamline airplanes. Each piece explores the religious and spiritual significance of journeys through the symbol of the vessel. After my own experience of fleeing Vietnam in 1975, the vessel represents memories of hardship and hope.
Untitled
Pure Love
The love that a man
feels for a woman
and a woman’s love
for a man
is the true longing
that in all hearts
yearns for union with God.
Everything’s Coming Up Roses
I Throw the Stone
The Private Cosmic Library
The “Private-Cosmic Library” probes three possibilities for encoding conscious and public databases along a time axis.
The disk is made of painted cast aluminum, actualizing modern types of codes, encoding information on computerized disks, accumulating familiar signs from the language of electronics within and metaphysical signs in personal-code rhythm language.
The libraries appearing in the brown photographs characterize hundreds of years of book printing, a whole web of cultures and memories open to intimate browsing and learning from generation to generation. The “Private-Cosmic Library” is expressed by the simple fact that these are photographs of the libraries in my home with a portrait assimilated therein and many books in the field of art and metaphysics.
The sculpture-object itself opens as a book closet and alternatively, appears to be a small shrine by virtue of the crystal pyramid and three quartz columns.
In mineral terminology, these types of crystals are used for energy acceleration. According to mythology in the culture of pre-historic Atlantis, all information encoding was carried out energetically upon crystals. In light of the reawakening of the effectiveness of natural crystals, advanced technological achievements are brought closer to the furthest past.
In the cloak of time, past, present and future take place upon a circular axis, and the internal memory is the collective memory. With the hope that despite the physical miniature dimension of the work, the work will expand itself towards the open space.
Al Cuore del Cuor
My connection and admiration for my fellow women grow ever stronger as I grow older. This was to have been the theme of my box.
My father died in my arms a short while ago, calling “Mama.” How varied, how interchangeable, how understanding of the incomprehensible we must be. How I strive to trust my instinct that taps deep, deep, deep into the strength, the capacity, the tenacity of a woman.
My box is for my father, whom I miss with all my hearts. He was a painter, he taught me to see.
My Treasure
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.
Amour-Amitie-Art…
Contemporary Icons, Portraits/collages of persons crossing my (Life) way- where I feel a Vision- a Feu Sacre to a task- a goal they create herself……
Agua Para La Difunta Correa…
Untitled
Heart-A-Facts
Self Portrait #2
My work is a personal investigation which began as an attempt to see the body through the photographic medium in ways which are impossible with the naked eye.
I realize that we view images of the body very differently when they are life size or larger. Other objects do not hold such power and are always subject to interpretation of space when confronted by differences in size. The body, although conforming to the same rules of perspective, also holds another set of rules. The body is the common denominator of all the viewers, it is something to relate with on the most personal and intimate basis.
When working in photography it is important to remember that, unfortunately, photography is the choice medium of pornographers. It is a transparent medium; one that is taken of evidence of objective truth with little subjective interdiction. Any picture of a body is not necessarily thought of as a picture of a body, but as a body. We see through the portal of the pictures medium and look at the picture as evidence of truth…or of the body itself. A painting of a body has a different emotional charge than a photograph of the same body. Where a painting of the body would be considered sensual, a photograph of the same body is considered pornographic.
I am dealing with the total involvement of the figure and the role and relationship of the artist and viewer.
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.
Mime School
Come Home
When time is short; the need to understand what is important becomes imperative.
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.”
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.
Altar for Eve’s Chromosomes
Eve represents the first woman. I am honoring her genetic material with this mixed media sculpture. All women have descended from Eve’s chromosomes, which are the most fundamental, significant and potentially eternal part of our experience as humans.
Artistically, this work is related to a series of white wood wall sculptures I made during the late 1980’s. The objects I have added to the original box materials are symbolically related to women’s genetic and cultural heritage.
Beginnings
…woman’s sexuality, as spectator, must undergo a constant process of transformation. She must take, as if she were a man, the phallic power of the gaze, at a woman who would attract that gaze, in order to be that woman…
An attempt at examining issues pertaining to female sexuality, sensuality, cultural attitudes and ideas are my main concerns, which include the engagement and celebration of the body.
…a journey, which is both a conscious and subconscious process, through my body prints and food spices installations. These are born out of trans-cultural experiences and transcend apparent boundaries such as the celebrations of the human form and sexuality and sensuality. Whether or not femininity results in an unconscious symbolism, I choose to work with components of a visual vocabulary to achieve works in personal content that can be read by a larger audience.
I still have to question every assumption, every reaction I have, as a result of being culturally conditioned. The expression of my sensibilities and concerns is not a politicized feminism but more of a psychic bonding to my femaleness, Amen.
Tight Fit
This piece of work explores the notion of restriction and objectification by juxtaposing an old-time practice of foot binding with fashionable high heeled shoes. Pain, in both historical and contemporary context, is symbolized by the shrouded shoe. Times may have changed, but certain perceptions of women remain deeply entrenched. In the past, women were obliged to have their feet bound in order to be considered beautiful and desirable by men. Having small feet was a symbol of stature and gentility. Hence, women’s feet were forcibly bound to fit into dainty, three-inch long shoes. Today, women subject themselves to the pain and discomfort of three-inch (or more!) high shoes to enhance their feminine appeal. Yet, hidden behind the glossy look is this sense of inadequacy and the desire to be looked at. Are we now considered willing participants of a game of restrictive beauty, to the point of disregarding the possible hazards by wearing heels?
Self-Portrait
Teenager Boxes, Culver City High School, Grade 12.
All I want is not to feel like this every second of my life.
Got Milk?
My World
My box is a small square world, and part of my world is in the box. On opening My World and looking closer one sees part of my individual history. A mirrored reflection of my wedding day. It represents love, culture, and intimacy. The bottom of the box is a coffin.
AWARE Women’s Space
Garden Carriage
Children Beyond Borders. VSA Arts.
Age 10.
The box reflects me because it’s quiet, pretty, and full of flowers.
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.
Self Portrait #1
My work is a personal investigation which began as an attempt to see the body through the photographic medium in ways which are impossible with the naked eye.
I realize that we view images of the body very differently when they are life size or larger. Other objects do not hold such power and are always subject to interpretation of space when confronted by differences in size. The body, although conforming to the same rules of perspective, also holds another set of rules. The body is the common denominator of all the viewers, it is something to relate with on the most personal and intimate basis.
When working in photography it is important to remember that, unfortunately, photography is the choice medium of pornographers. It is a transparent medium; one that is taken of evidence of objective truth with little subjective interdiction. Any picture of a body is not necessarily thought of as a picture of a body, but as a body. We see through the portal of the pictures medium and look at the picture as evidence of truth…or of the body itself. A painting of a body has a different emotional charge than a photograph of the same body. Where a painting of the body would be considered sensual, a photograph of the same body is considered pornographic.
I am dealing with the total involvement of the figure and the role and relationship of the artist and viewer.
Family
This altar is dedicated to my boys, Shawn and Josh, two beautiful people who I cherish. Between the little dots in the photos are images of them surfing in Mexico. The inside of the box and the top of the box have surf “sex wax” melted, hardened and enclosed in resin. The wax will turn to liquid when it gets hot and change its shape when it dries. I like that.
She
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Paradise of Equal Status
Posibilidades
What is this piece about? For me, it’s about the danger of sensuality. How we are beckoned by the flesh. How our desire can become our anguish. How a wrong decision can mean death, be it of the spirit or the body. How the need for self-destruction can be initiated in a seemingly healthy person from the hurt and pain of a relationship. Thus — the presence of the sword. Although I also see this sword as positive, perhaps a form of protection or an attribute, like that of Saint Agnes. *
The question of violence enters in here, too. This woman — in all her sensuality — is in a coffin. Why? Was she a victim of violence, of rape? Can our sensual self die under certain circumstances? Is our nudity kept hidden away in a dark, quiet place?
The veil also invokes the mysteriousness of Muslim women, their eyes being their only available sensual feature.
* (Saint Agnes was very beautiful, but she rejected all of her suitors, one of whom became angry and had her condemned to death. Since it was forbidden to execute virgins, she was first sent to a burdel. Nevertheless, no man was able to touch her. After being tortured, she was finally decapitated. She is often portrayed with a sword piercing her breast. She is the patron saint of virginal innocence.)
Nostalgia Box
Basta Ya!
We are living in a society where violence and abuse are everyday words. We read it in the papers, we see it in the news, and in one way or the other we have been victims of it.
On May 9, 1997, a group of mothers “Las Madres Angustiadas” and other people joined in front of the Supreme Court of Justice of Guatemala, where thousands of candles “veladoras” forming the words BASTA YA! (Enough) were lit, asking for a solution to this problem.
My box unifies all those lit candles in the churches, in the small private spaces and those lit in front of the Supreme Court.
Parir Me Quiero
My work is completely visceral. Each work or piece that I create is born from an experience or event that has marked my life. For me it holds the meaning of a ritual of celebration, offering, thankfulness or prayer. In this sense I believe that it is profoundly religious. It is my way of struggling with the world, of transforming myself into a “Cleansed One.*”
*Shamanic rite to remove the physical or spiritual evil from one’s person.
Why?
The box, as a symbol of woman and one which will simulate a mother’s body. I will open and leave open so that my body is weightless and free. My face is protected by a condom, but not out of fear, because covered can also mean uncovered.
Untitled
Polina Fedorova worked with her 96 year-old grandmother to create this box.
From a Picture Frame On My Mantelpiece
As a 32-year old female Indian Diasporic artist, my preoccupations are complex. Feelings of confidence and vulnerability exist at the same time. My formal research, for the longest time, has been a documentation of my interactions with people and experiences by using photography. These photographs form part of a tale. The front, from top to bottom, depicts a meandering path of images of women, starting from infancy to old age. The back of the frame shows my life, whilst growing up in a politically charged environment, that all pervasive racism between the whites and the blacks and the Indians, and my moving to England at the age of fourteen, conflicting lifestyles, hidden desires, and a magnetic pull towards my (so-called?) homeland, India. Almost all my work reflects my relationship with India. In that murky sea of conflicting humanity, a different code is at work; therefore I am not in control, and have much to learn, and to re-learn. This preoccupation is less a romance, and more a sort of obsessive compulsion.
House Cleaning
We clean our house every day and throw the useless things away. But often our minds for years get filled with foolish thoughts and fears.
The Women's Voices: Jennifer Barton from WOMEN BEYOND BORDERS on Vimeo.
