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BOXES beyond borders

The Meaning of Existence – dust

人类为了生存必须消耗地球的资源,而在这个过度消耗资源的时代,地球遭受了很大的破坏。我希望我的存在能够尽量减少对地球环境的负担。当我出生时,我就像宇宙中亿万颗行星中的一颗,只是太阳系中的一粒尘埃;当我离开时,尘土归尘,仿佛我从未来过。

作品ㄧ是婴儿床上的婴儿,代表我的诞生;
另一面是死亡时躺在床上的尸体,代表我的离去。我身边的表格记录了我出生和离开时对地球的影响。
创作媒介是用铅笔上色的,没有保护漆。希望以最简单的方式呈现,就像生命简单的存在一样。

The Meaning of Existence – dust

Human beings must consume the earth’s resources for survival, and in this era of excessive consumption of resources, the earth has suffered a lot of damage. I hope that my existence can minimize the burden on the earth’s environment. When I was born, like one of hundreds of millions of planets in the universe, I was just a little dust in the solar system; when I left, the dust returned to the dust, as if I had never been before.

The work ㄧ is a baby in a crib, representing my birth;
The other side is the body lying on the bed at the time of death, representing my departure. The form standing next to me records the impact on the earth when I was born and left.
The creative medium is colored with pencils, and there is no protective lacquer. It is hoped to be presented in the simplest way, like the simple existence of life.

Colors of My Life

Artist from Singapore

The colors on my box signify and represent my life. Blessed I am with the life I have. As much as it’s colorful and pretty, there are darker colors on there that represent the tough and difficult roads I had along the way. Losing friends that colored my life, using material that binds and reminded me of my late mom who was my strength. The curves and shapes on the box are the never-ending roads that will continue to add color to my life. I for one believe that every stroke has a story.

Mother’s Cushion

Artist from Japan

My mother, 82 years old, has lived in Japan, doing housework for her family for 60 years.

No retirement, no weekend. That’s very common for Japanese women of that generation. Her family feels at ease thanks to her contribution. She is like a comfortable sofa for her family but she doesn’t have her own chair.

I would like to offer her a comfortable cushion, hoping she can take a rest sometimes.

I decorated it in pink because she loves to go out dressing herself up.

faith • hope • love

Artist from USA

I am an ABC, an American Born Chinese; one woman with two cultures and three words that hold my life together: Faith, Hope and Love. The secret that holds my life together is in the box… and that is the radiance of Christ.

Faith – in Christ
Hope – in His future for me and my family
Love – in my heart for my family
my friends
my two countries
and my life in Him

Under His love, I have “new life.” The butterfly represents my life in Him. I’ve chosen this fabric, not just because it was left over from my dining room chairs (up-cycling) but also, because fabrics and interiors have been a big part of my life and career here in Taiwan for over 36 years.

My deepest truth is: Faith, hope and love in the Lord has guided and blessed my life in ways I could never have imagined or dreamt of.

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.

Garden of Courage…

Where the
Seeds breakthrough
From breakdown.

Seasons are the reasons…

Nothing, nothing was an accident, everything was meant to
Happen.

Garden of Courage, seeds planted, tribes gathered, beautiful friendships blooming…

The “Formosa Tales” box project has allowed me to see the courage within, I am inspired by many with the sharing circles, and the boxes created… women of different backgrounds coming together having a much-needed conversation, the power of connection creates the possibility for transformation …It is my hope that with each box, every place we go, the seeds of courage would be planted, our collective vibration for the greater good, to be the courage; strength continues to blossom…

This little wooden box
What brings is unlimited possibilities…
In sharing and listening, the bravery of the exhibitors touched me… let me see the beauty of my bravery and vitality again. How to open the chat box in my heart, and what is worth cherishing… That is really an art. This garden bloomed in the third version. It is my expectation. What the treasure island chatterbox can plant on this beautiful island is full of hope, full of long-term prospects, abundant flowers and good fruits everywhere.

The Love Seat

Artist from USA

A cozy and happy place, this Love Seat. Challenging the traditional appearance of your typical living room chair, fireworks and “power red” fabric make for a bold, yet celebratory, place to sit.

The inconsistent pattern mimics the reality of our own inconsistent lives – as women and people – but appearing upon a strong piece of furniture reminds us we are still safe and stable. Individual black and white buttons remind us that everyone, regardless of color, is invited and welcome, while a single ruffle-edged pillow adds a touch of “feminine”.

Thank You!

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

Narcissism, Me, Me, Me, etc.

My box is titled ‘Narcissism, Me, Me, Me, etc.’ because I live in the dream capital of the world where appearance is paramount, and hope springs eternal.

According to the myth of Pandora, when the winged souls, the 10,000 woes, the spites that plagued mankind, were released by Pandora from the jar, only HOPE was left behind in the jar, and it was delusive HOPE that discouraged the mortals, through her lies, from committing a general suicide.

Because I live in Los Angeles, California, surrounded by vain, foolish, mischievous, idle and beautiful women, such as Pandora, I felt compelled to turn my box into an anti-feminist statement, that Pandora would have appreciated.

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.

The Dance of Life

Artist from India

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

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

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

Transitive / Transform

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

Joan Ling, INNOVATOR AND ADVOCATE FOR AFFORDABLE HOUSING IN SOUTHERN CALIFORNIA and Ann Lindbeck, ARTIST

Contents of Trunk:

A letter ordering lumber by Pablo Neruda

Accordian landscape

Key to a China trunk

Map of California

Map of China

Architectural drawing

 

 

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.

Sor Juana

Sor Juana Ines De La Cruz was a 16th century Mexican nun. Not only was she one of the greatest poets and playwrights of her time, she was also the first person on this continent to argue in writing for the rights of women to be educated.

In Sor Juana’s time, a girl had only two real choices: she could marry or she could join a convent. Juana was illegitimate and had no father to pay her dowry, so marriage to a wealthy man who might foster her deep love for knowledge was out of the question. Marriage to a poor man would end her education, so reluctantly she joined a convent. In her convent she had extensive free time which allowed her to continue her studies.

Although she was not allowed to leave the convent, she was allowed visitors and many important people came regularly to visit this brilliant woman. She became quite famous and her books were bestsellers in Spain.

Defying the Inquisition and the profoundly patriarchal world she lived in, she filled her room with over 4000 books and wrote voluminously, particularly poetry. Later in life, she was threatened into silence by the male Church hierarchy and forced to sign a statement of repentance.

Her final days were spent caring for the poor, and she died after she gave up writing while caring for her sisters during a plague.

In her room was a sign that she had not completely surrendered; an unfinished poem, carefully hidden.

Global Vision

As a child, I lived in Europe for several years, enabling me to feel connected to other peoples, languages and customs. Always collecting objects from my travels at a young age, I was preparing to become the artist I am now – an assembler of a great variety of objects, textures and colors.

My goal from an early age was to “become a part of all I have met.” Living in California for most of my adult life it has been easy for me to experience aspects of many cultures, as so many people from all over the world live here.

My box is very much about a global view. I chose international postage stamps, with images of women, to cover the box. The “I/EYE scroll” contained within the box includes my quote from above and images of the human eye which approximate the shape of our planet.

I feel that Women beyond borders is first and foremost an expression of clear and profound communication between cultures – a communication that I know will enrich and inspire the lives of many of the women who are participating for many years to come.

I look forward to the new friendships that will be created as a result of our efforts.

 

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.

Bali Spirit

The box is covered in a black and white check cloth which together with the red thread gives us the following: red, white and black, together with a Chinese coin as used in balinese traditions.

The significance is:

The cloth covering the box is a symbol of this world in which there are always two opposites, for example: day/night; good/evil; rich/poor; etc.

The round coin with a hole signifies that life is never ending and the world is always turning.

The three colours represent the three great Gods called “have the meaning: dengan adanya TRI MURTI. Each of these three Gods have their own characteristics, which are:

– Dewa Brahma is represented by fire which is a creative force. Everything in nature is represented by the red colour.

– Dewa Wisnu the God of water, protects the contents of our natural world and His colour is black

– Dewa Siwa, the Wind, is the Destroyer, whose colour is white.

 

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).

Portrait of an Artist as a Box

A box is a metaphor for open and closed, the inside and the outside, two terms upon which alienation is founded. My work becomes at once the physical and the psychological space in which I face the alienation brought on by the play of dichotomies that hinder the search for identity and the possibility of its realization. The box becomes the self, inside-outside.  The nails are symbolic of manly attire with weapon, the nail as phallus, the nail as material nature, the nail as primitive ancestral device, and also as the piercing eye.  Finally, the wall of nails echoes the brutality of our surroundings.

Inside, the place of the jewel, the vagina: we find but broken glass in a sky-like space: My innards can be broken, my psyche raped by the conqueror, the violent, the oppressor,  but the immensity of my mind remains untouched.

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.

Women’s History/Prehistory

Black Box- Hidden Wisdom, what we know and have forgotten

Black Stone- For the Great Black Magma Mother

Opening Book- History of Women’s Mysteries, linked one to another, through our Blood, through Time.

Images are not designed to explain, but to expand awareness.

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.

Re:Mapping

When I was asked to create a box for this project, I wanted to use ideas and images representing the spirit behind Women Beyond Borders. I found a 1957 atlas with a world map and an accompanying text, which are very anachronistic relics of the Cold War era. More than 40 years later we have seen a myriad of changes in borders resulting from our late 20th century, capitalist, post-colonial, multi-national, global politics. More importantly, we know only too well the tragedies that have ensued when multitudes of human beings are displaced and dislocated from their homes and homelands.

On this box I attempt to re-map the world to show the arbitrary and contrived nature of geo-political borders. While many countries appear as they are today, some nations no longer exist and others have yet to be established. I have tried to de-contextualize the borders to remind us how they are always in flux. Inside the box is an idealistic and paternalistic text fragment from the atlas, a bittersweet reminder of a 1950’s American dream that has all but collapsed as we approach the year 2000. The text on the lid is my own bit of wishful thinking: Even though boundaries will undoubtedly persist to exist, hopefully they will not continue to prevent us from moving freely across borders.

 

The Wells of the Virgins

The mysteries of Eleusis, is the theme I have been working on since 1992.  It is about a long research I have been doing on forgotten rites and their symbolism.  An endeavor based on the writings of ancients and also of contemporaries on Greek art. The fertility of the earth-womb and children’s tomb symbolized by the well, which encloses the water of life, the water that purifies, but also fecunds, is inseparable from the earth.  The archetypal image of the mother/daughter, Demeter and Persephone as identical characters.  As well as Persephone’s ravishment by Hades, refers to the sexual act and to marriage.  Finally, its descent and raising represent death and resurrection.  Always assumed, the unknown rites have to be imagined…

Memory

This box is about memory. The interior, the little empty scarlet sarcophagus, symbolizes that which is memorized, which can never be recaptured exactly; the red on the outside is only an echo, and is overlaid, confused, obscured, and changed by later colors. I mourn the loss of that intimate vermilion promise.

I am a painter and a writer, and for the past four years I have been writing a large biography, of a couple whose lives overlapped with mine, though I never met them. I have spent these years sifting other people’s memories, both written and spoken, in pursuit of the exact, impossible hue of my subjects’ lives. This, too, is represented here.

I have only one chance. My box sails out across the waters of the world. Bon voyage, box. I’ll remember you.

Map-Labyrinth

I opened the box’s door, I took off its top and I glued it to the bottom part to be a pedestal.  Then I painted the whole box in white and sealed it, following its shape with pieces of Plexiglas, on which appear (through the method of décollage that I have been using since 1974) fragmented images which constitute my labyrinths.  By this symbolic gesture of encasement and transparency, I hide away forever and protect the most precious feeling that remains buried at the bottom of this box since the time of Pandora;  Hope.

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.

 

 

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.

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.

 

Copper Fish

A simple wooden chest, crudely decorated, is uncovered. What is inside? The lid is pried open to reveal the legendary Copper Fish floating in a sea of bubbles.

On the 25th of November 1922, the first stone was removed from the walls sealing the entrance to a pharaoh’s tomb in the Valley of the Kings, Egypt. Six years of painstaking archaeology work was rewarded by the discovery of wonderful and curious objects housed in an array of boxes. One can still imagine the thrill that the explorers felt.

The rediscovery of a forgotten or lost box never ceases to inspire curiosity and optimism.

 

New Beginnings

This is not a title of hope but one of irony. We all know that the lady who gets cut in half by the magician appears moments later gloriously grinning in one piece. The sword was real, the box solid, yet we are time and again puzzled by the discrepancy between what we see and what we know.

I have tried with this piece to convey that what we see and what we know is both illusion.

Although the Barbie-like woman, as a trickster, cheerfully saws herself in half, an extra pair of arms, pink and girlish appear like a last minute doubt to the saw. The last laugh and the first tear are closely connected.

 

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.

Crafty Contemporaries

This box symbolizes the entrapment of the domestic sphere. The witness of the box symbolizes the innocence and naiveté of women in the past. The sewing kit placed in the box makes reference to contemporary women artists of today who have used old skills from the domestic sphere and given them new life.

 

Energy of Thought, Word and Deed

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

Rita Ryder, PRESIDENT OF STRATEGIC INITIATIVES, YWCA

Our sculpture represents the day-to-day work of the YWCA, providing hope and opportunity to women and families. Our ceramic hands represent our entire, diverse community joining together to help women and families overcome critical issues that undermine their lives: homelessness, poverty, domestic violence and unemployment.

Working together, we move women and families forward—breaking the cycle of poverty and hopelessness, and improving the quality of their lives.

Being

My box represents the three aspects of being. The lower section shows bones and clay through glass, representing the transient nature of the human body- physical being. On the box itself I drew my doodles and ancient Irish symbols representing the collective unconscious of mental being. Finally, the angel on top represents the spiritual being.

One Thousand Years of Sewing into the Night

My grandmother’s sewing box, a gift from her mother, handed down to me by my mother, is my inspiration for Women beyond borders. I have made a tiny sarcophagus of pins, cotton and frayed red velvet – to symbolize thousands of droplets of blood from pin-pricked fingers – all embedded in the wax of candles burned into the night, lighting women’s often unappreciated work of skill, toil and pleasure.

 

Untitled

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

Elizabeth Rice-Grossman, BUSINESSWOMAN AND PHILANTHROPIST, SUPPORTER TO THE CIRCLE OF CARE FOUNDATION and Catie O’Leary, ARTIST

Images used in these collages represent Elizabeth Rice-Grossman — her life, influences and concerns, benefitting those near her home in Ventura County.

Images are personal symbols meant to represent her life, such as:

San Francisco – map, horses

New York – stock market

Hawaii – orchids

Theater – Arts for Kids, Nutcracker

African American authors

Grossman Burn Center

Migrant farmer housing

Americare – senior care

Memory TV – Circle of Care

The past enables the present

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.

Bridge Between

I have been working with the image of the moon for the past two years, which on many levels has associations with women and the universal.

As my work is largely abstract, incorporating the specificity of the form and object of “the box” was a challenge.  The association with Pandora’s box set my mind back to the beginning of humanity, the myth of creation, the fall of man, loss of innocence, knowledge, and in particular, how woman is perceived. I began wanting to turn the box into a bridge, using it as a metaphor for women’s ability to access a more open-oriented position (meaning).  A bridge gives access between two lands, worlds, positions; over what seems impassable.

The material and color of the box dictated the other components of the work.  (There is a fleshiness to cedar and clay.)  The two ceramic circles which I used, connect the bridge, continuing and expanding the human sensation into abstraction.  The work relates to lack and possibility, of balance.

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.

Notions of Change

On receiving “the box” I had an overwhelming feeling, that the box somehow needed to be destroyed. But how?

The notion of destruction carries a negative taste in our society. However, the box, as symbol of the way we are forced to live and think, needed to be destroyed. How could I make the act of destruction a positive one? The answer lies in the notion of change. Change is the most constant force active in nature and our lives. The laws of change and transformation are natural laws, more important and fundamental to life on the planet than the laws of constancy and preservation.

To express this I did the following:

I decided to break the box into three parts: lid, main body, and head and foot piece.

The lid I buried in the ground to let it decompose.

The main body I burned until only the charred remains were left.

The head/foot piece I subjected to the physical force of a grater to break it into its smallest visible parts.

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.

 

Pandora a Broken Myth

In doing this box I decided to see what the original myth of Pandora was. I was struck with the beauty and the imagery of Hesiod. I laughed at the obvious fear and envy that men have had at the creative female. I felt we could look at this myth and break it open and show women in all her creative force without fear or envy.

“as a favor to Zeus the father,
On this had been done much intricate work,
a wonder to look at:
wild animals, such as the mainland
and the sea also produce
in numbers, and he put many on,
the imitations of living
things that have voices, wonderful,
and it flashed in its beauty.
But when, to replace good,
he made this beautiful evil
thing, he led her out
where the rest of the gods and mortals
were, in the pride and glory
that the gray-eyed daughter of a great
father had given; wonder seized both immortals and mortals
as they gazed on this sheer deception.”

Hesiod translated by Richmond Lattimore

Fabricated Fame

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

 

How To

I collect “how to” illustrations, the drawings that come on packages that show you how to use the product. For this box, I made three scrolls with my copies of those illustrations.  I used instructional drawings from health books, dental floss, box cutters, screwdrivers,chopsticks and Hi-8 tapes.  They are packed tightly inside the box, a representation of the jumble of rules.

Untitled

Culver City High School. Grade 11.

My box represents impermanence and fragility, what was once a solid object is now only dust. The silhouette connects this metaphor with human life in that the picture is so fragile that it will scatter with the slightest wind, it is not expected to last forever.

 

Welcome to La La Land

Culver City Highschool. Grade 11.

My box represents my life and being a high school student in a modern world, which is all crazy. I titled this piece Welcome To La La Land because my nickname is Lala and I wanted to show a glimpse of my life. Well, what I wanted to say about myself was that, I am a quiet person but inside I am crazy, confused and talkative, but I keep it locked inside most of the time. Inside, I put little things that represent me and keys, which is the thing that will open the box (myself). I see finding the keys is like finding you, the key that will open you to the world. I have little things that can’t remain in the box like my creativity, self-expression and friendship. I feel that most people are like me and until you find yourself, you can’t find the key that will help you open up and allow you to be more yourself.

The monarch trapped in their expectations, reducing the imperial ruler into a mere puppet controlled by golden strings.

Radical Profiling

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

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

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

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

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

 

In Memory of My Father

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

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

Opportunity Gap

This box purports to show the great disparity of living standards in the United States and the enormous differences in the haves and the have-nots.

In the 1970’s I photographed migrant workers in central Florida. The situation there was not too different from the photographs taken by the Farm Security Administration in the Thirties and the situation is the same today. In one camp far from civilization the workers lived in converted buses with 1 toilet and shower facility for over 70 people. The children did not attend schools as they were too far away. When the government finally closed the camp, they simply moved further into the outback.

Whole families worked the groves, including young children, but that was the only way the families could earn enough for the day.

Contrast this with the luxurious life styles of some today. There is a widening gap between the rich and the poor. As technology dominates the employment field, those with little education are doomed to low paying or no jobs at all. Our society is becoming more stratified economically.

Dragon Box

Using the box as a metaphor for prescribed limitations in one’s life, this box is not a place of confinement. The edges have softened and fallen open, allowing the light to radiate from a life force of an egg. From the light comes new freedom and love. The inside of the box reflects the light so that the power is magnified, thus illuminating the path towards release.

 

Seyburn Zorthian – Open Box

Pandora’s Box

Where do my thoughts and language come from?

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

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

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

Skin Deep

Spilling out of a Pandora’s box, previously concealed truths reveal themselves. A hand, a living experience and the intuition it contains, is full of signification. This can be translated in a multiplicity of paradoxical ways.

Beauty is a socioeconomic and political construction. How we depict women in art opens up a dialogue and an opportunity to affect our inter-relationships. We are not alone in deriving pleasure from the spectacle.  Manet’s Olympia, and the official ideology she implies, returns our gaze.

 

Revelation

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

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

-Emerson

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.

 

Untitled

From its first moment, the shape of the small box permitted several associations and possibilities, but the point was not to alter the object per se but to have it remain in its artificiality, a box-like structure with a cover, closed with a rubber band, which was handed to me.  Intuitively, I decided to confront this object with pictorial presentations that I had selected.  In this process I begin by thinking of some imaginary associations.

This lead directly to a comparison of three objects, one after another. (Where does the wooden object “belong,” what can it be, or mean?)  The pictures I have chosen in the frames are to be understood as an “offer,” which relates the different levels of representation to one another.  Thus, a space is produced in which things can be observed in terms of conception and content or else in terms of space and form.

The inside of the “box” projects itself visually upon the pictures as they are seen.  The concrete object serves as a “medium” of the continual transformation between things and pictures.  Understood in this way, the wooden object can be regarded, abstractly, as a picture, just as a picture can be understood as an object. The positioning of the two picture frames with the wooden box creates as a whole a model of one’s own perception or of the possibilities of perception, and the relational positioning or the relational viewing of things.

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)

Untitled #1

Top: the 3 jewels (the Buddha, the Dharma (teachings) and the Sangha (spiritual community)

Color: yellow for the Lama’s robes

Images: lotus flower, 3 jewels with Bon swastika (Bon was the religion of Tibet before Buddhism), fish, vase with flowers

Inside the Box: barley

Couple

When two do not recognize their internal forces they remain prisoners of their facade and they add this facade to the other.  Thus inevitably they will be attached to each other by an intricate chain, forgetting their own space, staying knotted and desperately isolated.

Kristine’s Hope Chest

The central character in this visual story is the Hope Chest.  I play a secondary role and I am represented here by the paper mache figure with the hole in her soul and an exposed heart.  The setting “Life” is a jigsaw puzzle piece cut from a chess board.

The first things to be taken out of the chest are my sketchbook and pencil.  There are three other items on the board and they symbolize external influences that always shadow my moves.

The contents of the chest are: two teddy bears, a doll, a key, a warm knitted blanket, a couple of books, paintings (my work and that of others), pencils, a tin angel and bits of coloured wire.  All these items are needed by this nest builder to turn a room or apartment into HOME.

The colourful tin angel was given by a friend, here it means friendships and friends who are sometimes angels.

The colourful curly corkscrew bits of wire are the wonder and amazement that I carry around with me.

On the inside of the lid is a rejection notice from the New Yorker Magazine, and a letter written by my granny when she was 65.  She lived and died in Latvia.  She learned enough English to cobble together a now cherished letter to her 10 year old granddaughter.

I write a lot of letters and the stamps are the decals from my travels by mail.

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.

Untitled

Blue skies, sun rises, sun sets.

Very quickly, you leave us

Like a bow leaving it’s arrow.

We stay.  It’s good to stay.

Our future is good.

Top: flower

Images: Knot of eternity, eight-petaled flower, Bon swastika, 3 jewels (the Buddha, the Dharma (teachings) and the Sangha (spiritual community), sun, moon, flowers

Inside the Box: Kata (white scarf used as offering to Lamas or enlightened people)

Text: World Peace

Blue sky, sun rises, sun sets.

Very quickly, you leave us

Like a bow leaving it’s arrow.

We stay.  It’s good to stay.

Our future is good.

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.

 

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.

 

The Vessel of Light

The vessel of Light is a woman laid bare,
she is a city on a hill and a lamp on a stand
See her light from within and praise her creator.

The vessel of Light is a soul pure and true,
Her charm is not fleeting and her beauty never fades
For they come from the fear of the Lord.

The vessel of Light is scorned by the world,
For her beauty is not outward and she does not seduce
And the darkness on earth cannot understand the light.

The vessel of Light is set apart in the world,
In the darkness of the night, she shines like the sun
For she lives not for pleasures of man.

The vessel of Light will live on forever,
With others much like her too,
The song she sings to the world from the Lord
Is as much as for her as for you.

Her light never fades, and her joyous song never dies
For what is physical will pass away,
But what comes from within, shines eternally
From her Salvation, she’ll never stray.

If you see her Light, please don’t turn away
The glory is not hers she says,
It comes from her salvation in The Light of the world,
And it could be yours too today.

 

Women's Voices: Faye Shen, Singapore from WOMEN BEYOND BORDERS on Vimeo.

96 and 4 Extra

The negative space inside the box is able to contain 96 cubic centimeters of particles. If more particles are added, the pressure inside the box will increase. When the box is opened, the pressure will push the extra particles out. A similar reaction will happen to a human being who experiences physical and mental pressures. When the society, culture and family exert pressure on a woman, she faces physical and mental exhaustion, thus making her unhappy. But if she is able to release the stress, the force can be transformed into useful energy–just like the box, she can live a colorful and creative life.

Think Local, Act Local

Santa Barbara focuses within its boundaries by caring for its people and environment, which causes a domino effect. The effect touches locally, but also worldwide. Santa Barbara is a jewel by the sea. Fishing is an integral part of the local economy. The sailing vessel made out the box exemplifies our location and the many wonderful sights and sounds that await tourists who touch our shores.

We “locals” touch the world community by our friendly hospitality and we offer tourists numerous and varied experiences to understand the American lifestyle. We care for ourselves, therefore we care for and respect others in all parts of the world. We have many organizations that support world-wide causes, such as Direct Relief International and Jean Michael Cousteau’s Heal the Ocean. We are seeking ways to maintain a homogenous community to assimilate all walks of life and when anyone encounters our beautiful city, he or she may also “think local and act local”.

Overflowing

As the world’s population increases at alarming rates, heavy human consumption is producing drastic amounts of waste and garbage. Landfills are overflowing and space for containing our trash is limited. This box represents Earth’s limited available space for containing our waste. By recycling, we can collectively help to prolong the Earth’s beautiful and natural elements.

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.

 

We’re All in this Boat Together

I work with containers because they make me happy. Each piece I create becomes a container of conscious and unconscious thoughts and feelings: a nest, a womb, a secret, a surprise or a giggle. And always, a feeling of being in touch with my female ancestral beginnings.

My containers contain “me”. Being a wife, mother and “Nana” have been the most important things in my life. My baskets honor and celebrate the family. I use words and images of women and children because I want my basket/vessel to have content…to say something. I want to validate the importance of the family and the values and morals it nurtures. My vessels are autobiographical and are the scrapbooks of my life.

Throughout history women have found creative time in their lives to make baskets. Knotless netting, the technique I use to cover the gourds and molded forms, is an ancient, tedious, continuous thread technique that is used for nets, baskets and button holes and is symbolic of women’s work in the home.

 

Ask for Guidance

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

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

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

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

 

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.

 

Untitled

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.

Sparkle of Life

Coca-Cola Box Project.

Many years ago after a long and hot morning of doing house chores, my exhausted and thirsty mother would unexpectedly rush through the door. Intrigued, I would rapidly tie my worn out shoes and head to the kitchen. There holding a bottle, as if it were the last one left in the world, was my mom. As she drank it, a smile would slowly illuminate her face. Noticing my curiosity, she pointed at the bottle and said, “This is the sparkle of life.”

In a convulsive world of dispute over territory, religion and culture, men and women face a daily struggle searching for solutions to make this planet a better one for everybody. What has for many years been missing however, is the perspective of the real sparkle of life: The Woman. Just as Coca-Cola illuminated my mother’s eyes, this world would benefit greatly by considering more seriously the ideas and propositions of the woman. So, the purpose of this project was simply to portray and honor the woman not only as the sparkle of life but as the queen of the universe.

 

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

The Ideal Women

The work challenges the notion of an ideal woman and our perception of a perfect appearance. The Ideal Woman exists today in various forms.  The construction of the ideal woman is constantly propagated by the media, mass culture and social standards.  Reconstruction with corrective surgery, Cyber-heroines modeled in the realm of virtual reality, Plastic dolls with envious 38″-18″-34″ dimensions are but just a few examples of what influences our conscious psyche.

The box presents a metal pedestal upon which women fixate the psychological image of an ideal woman.  The proliferation of body types littering the box illustrates the quest to attain the ideal image through various stages of her life.  The doll parodies a woman’s fixation with her own body and her quest to find the perfect body.  Swathed in slim-wrap, draped with a tape measure, the woman is never satisfied and the craving for the image of the ideal woman never stops.

So, pause!  What / who / where is the Ideal Woman?  A fiction of our imagination, mostly.

Tran-Sisters

This is a continuation of my Hole Project which started, and the beginning presented, in 1999. The holes drilled on the foundation parts of the box represents the idea that life is full of little openings.  The transistors (primary device for amplifying electronic signals) represents the idea of enhancing the message of openings we find in life. The interconnection of the 3 (number 3 is one of the lucky numbers for me) parts of the box represents interconnections that we beings can engage in among ourselves, to promote the attitude that there is hope because we find openings.

Endless Beauty

My work deals with the femininity of a woman, as she struggles not only to be part of society’s work force, but also to maintain her appearance as changes are brought about through aging.  Instead of the small wooden box, I have cast a larger box from wax, not only to enhance its appearance but also to give that sense of being alive.  The box itself is wrapped up with skin and it is this same skin that are stacked inside the box in repetitive folds.  The wrapped box together with the folded repetitive skin represents the struggles of a modern woman in the community, to which she has, to balance between society and the family, and yet maintain her >endless beauty for society.

Keep It Burning

matches played with in our youth
we were going to set the world on fire
maybe still
maybe again
keep it burning.

lighted candles, take a breath
don’t blow them out
inner glow, light, fire, magic
keep it burning.

grow with the flame; feel its warmth
light the passion
dance with the fire
keep it burning
keep it burning!

Medium: wood, metal

The Model and the Box

I pay homage to the naked form. In this piece the artist is absent, but her palette remains. The model is not naked but nude. To be naked is to be deprived of clothes, to be nude carries no uncomfortable overtones. She has no vulnerability. She has energy and vitality. She offers this artist stimulation and creative thought.

 

I thank the model, the nude…and the box.

Dreams Fly

Inside this box, within a bird, a dream is sealed.

Please PICK-UP and hold this wise, matriarchal creature. Shake her gently and listen. Hear her dream stir? What is within her; within you? Permit your vision to awaken emboldened, released with wings spread and soar beyond every limitation that you impress upon yourself.

Goethe said, “Whatever you do, or dream you can begin it. Boldness has genius, power and magic in it.” Truly, all women have dreams and passions pleading to be set free on the wings of imaginary flight.

Untitled

Survivors of Genocide.

I have drawn a volcano in eruption and fruits on a tray. I have also drawn a person in a boat. An active volcano is very destructive. Fruits are nutritious. If you take a ride in a boat you take a rest and feel happy when you look at the water.

Untitled

You may read and see,

But you can’t touch her.

You may look and sympathize,

But you can’t feel her pain.

You may think the wound is healed,

But you don’t know it stays forever.

She trusts to be loved and guarded,

And in return she got that.

She isolates herself from you

As her world is dark and lonely.

She is suffering behind that smile,

You don’t even realize it.

She is unable to accept the truth,

As it hurts to talk about it.

Listen now… “Why me!

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

Untitled

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.

Who am I?

As a growing teenager, I often find it hard to determine who I am as an individual. I used the box as an icon of my self-being. I feel as a teenager we often take life for granted and forget how every decision we make is an important one. The stilts on the box are there to exaggerate how important the choices you make in life are. The shattered pieces of glass, directed toward the box, show the constant pressures in life. I chose mirror to show that by just looking in the mirror at yourself you think about who you are. The box is placed upside down to show how I have built my own shelter, apart from my family to protect myself in this world.

The Battlefield of Selfhood/ A Box of Empty Shells to Ponder

Beings killing out of jealousy, rage,
betrayal, revenge, self righteousness.

Some die without a loss of body though —
through abuse and intimidation, disagreement.

Untamed emotions creating a battlefield within.
Un-conquered, raw, heartless.

The primary battlefield.

Led from the mind, from the heat of hatred,
destroying another, destroying the Self.

Hear the names of outer battlefields —
Bosnia, Iraq,
Oklahoma City, Somalia, subways in Japan.
In the home,
Couples turning from lovers to killers.
Children killing children.

Anger looming in the human heart —
on the loose, unpredictable.
Where is the greatest battlefield to conquer,
on the terrain or in the heart?

Where to fight the battle?

A box of empty shells to ponder.

Eggies

Candy-like ovaries
Nibbling like berries
Sucking and squeezing
Pulling and pleasing
Contradiction and friction
Shiny, sweet eggs
Long skinny legs
Steel wire and red
Cold blue-purple and dead
Hot glue opaque blue
The barrier has become the existence
The chaotic shamble has become the resistance
Confine, restrict, disengage

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.

Untitled

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.

Untitled (Pandora)

People say that in some northern farmyards a cover closes the wells that are not in use anymore. The owners justify this closure, saying that children or visitors could, accidentally, fall to the bottom of one of these wells. The truth is that their motives are less thoughtful. What they fear is not that somebody might fall, but that the child who was thrown to the bottom of the well, like a family secret, suddenly surfaces again to the world.

New Population

The characters presented in my box are called New Population and are a part of a larger fictive universe called New Civilization.

My fictive universe is a subjective/allegorical system that develops and analyzes simultaneously. It consists of digital characters, sampled from objects within contemporary culture that exist in the threshold of the future. They are teaching us how it is to feel electronic.

The New Population observe the ever growing, omnipresent, mythical, and still becoming…culture (and beyond that).

As the creator, I observe, name and classify. The only conclusion I have been able to make so far is that these might be Holy People.

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.

Untitled

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.

Beatrice’s Box – A Coffin

The figures on the top represent her husband and four children who were all murdered during the genocide. She had to (forced) watch, as her husband was hacked into four or five pieces. Overwhelmed with tears, she could not go any further.
Note the small red heart on the side.

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.)

Mimo

Now, we humankind encounter a life crisis that we have never met before. This crisis may have been brought upon by the competition for “superiority” and “profit” for such things which each person belongs to, as the nation, peoples and sex…etc. I wonder how we can surmount this serious condition? Can we evade the collapse and find out the light of hope in the twenty-first century?

A primitive man held awe and respect to the universe and nature. We should bring them to life intensely and lower our head and pray sincerely to them. The ancients prayed for the approach to the sacred thing through praying. We should also learn a lesson from their wisdom.

Now each of us must be in immediate need of breaking our little shell of ego and appearing as our universal or spiritual soul which sleeps undeveloped in deep layers.

Painting, building, singing and dancing…these acts are also a prayer itself, I believe.

Simulacra

Every little treasure has a message inside…..

SIMULACRA is the title I have chosen for my work in aluminum realized using the original box as a model for the casting. I engraved the cover of the box (previously covered with terra-cotta) with stylized signs, although the meaning of this work is not to be understood in these signs.

SIMULACRA (in the Latin larger sense means: copy, effigy, sculpture…) plays a role of criticism to the idea of original (represented by the original wooden box I received) and “copy” (in the way the original one is cast).

You may ask yourself which one has to be considered the original between the two: the two boxes having to be exhibited always together!

I play too with the idea of container and content implicit in the fact that the object is a box.

Finally the title SIMULACRA allows you to think about the platonic concept of mimesis (Art as imitation, in a larger sense), this is not to provide a solution but to push the viewer to think about these matters.

The Myth of the Spider

For years now, being taught by the spider, I weave webs.  Small ones and large ones using all kinds of materials.  To me it is an infinite source of spiritual codes. I chose the ancient myth of Goddess Athena and the Spider. From the little box arises what has been marking us for centuries, the challenge of becoming Gods.

Two women comprise the myth…Goddess Athena, holder of wisdom, protectress and teacher of the weaving art and the Spider, mortal, outstanding weaver, daughter of Idmon the colorist, mother of Clostiras. Spider challenges Athena to a weaving contest. She creates a beautiful, flawless tapestry. This image insinuates the desire of mortals to reach the divine qualities of the gods to desire to live up to their level.

Athena infuriated by this, punishes the spider sentencing her to live from then on and forever hanging from a thread, transformed into an insect. Being an insect now, the spider weaves its beautiful webs till this day, still creating.

Art contains arrogance.

Art challenges the gods.

Art creates little gods.

Box-Bird and Branch

The cosmos of my work is in a forest. Flights of birds grow on silent trees and huge seeds take different positions. The leaf is the poetic unit which allows the magic passage from the world of plants to the one of animals and from there to the geophysical world.

When I begin my work, I spend a lot of time minutely observing the physical world. Then this state of vigilance is changed through a more distant positioning in which the object I observe is the parallel motion of my creative process to that of nature.

Is there an ecology of conceptual and creative phenomena? I often tend to incorporate ecological concerns by contrasting elements (birds on trees without foliage, seeds with burning interiors) to suggest the interplay of human interventions on natural processes.

Just A Tear

The box: the everyday object is used in different ways. It is taken out of its specific context in order to become an object that is artistic, cultured, of utilitarian adornment.

In this case the change is taken from a philosophical, conceptual foundation. To accept this transformation from a common, everyday object for purposes of exhibition, it is necessary to take on the challenge of new shapes and ideas, to comprehend their true structure in order to give it symbolism and a distinct visual representation: a confrontation between form and action, between reality and idea. This is to say, the object must be viewed from another angle in order to break the established canons. This shall be the philosophical stance for my work.

My subject is tears. I began with an incision between the warmth and gentleness of the wood sharply contrasted against the rigidity and coldness of the metal exterior, in order to place, in its delicate interior, a tear.

Tears are shed daily; they are commonplace and become relics when taken out of their context, just as the crusaders brought back relics from the Holy Land: pieces from the cross, from the crown of thorns, from the robe, from the nails. These amulets, upon being sacrificed, acquire properties of protection for those who hold them.

This syncretism happens in the Americas, lands which we carry deep within ourselves from the cultures of our origin and the influence of the Christian religion brought over by the Europeans.

Personal Newspapers

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

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

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

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

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.

Weasel

For centuries, women in Bosnia have been telling fortunes by looking at the bottom of their cup from which they drank coffee.  This is a sort of white magic.  They turn the cup upside down and then different shapes from out of the coffee  grounds left in the bottom of the cup. Each ‘figure’ represents a symbol; dog-fidelity, horse-strength, rabbit-speed…

The weasel has a special place in the history of Bosnia.  It represents the protector of the Bosnian rulers.

The weasel, which is a very blood-thirsty animal, amazes us because of the gentleness of the mother.

I started thinking about this after I had seen this ‘figure’ in my cup.

Limitation

Each restriction, each limitation is just like a coffin.

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

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

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

 

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.

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.

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.

Untitled

I find this concept very challenging although of course initially, I found the concept of Women Beyond Borders and the form (BOX) contradictory, as boxes inherently are about discreet entities/objects with their own definite boundaries, surfaces and edges etc. And these boundaries are walls in themselves, not just an imaginary line or flat paths on the soil dividing countries nor printed lines on the map. In other words, the whole notion of borders and liberating women from it contradicts the very form of the box given to every participant that say so disturbingly otherwise. My intention for the approach to producing a work for this project is to deal with this collision of concept and form. I have gathered a few women and men from the community I am with, to witness a cremation of this box, after which the ashes would be placed in a custom made replica of the box but it will be in cut glass. Death to borders–of course the glass box and its glass walls is practically a vitrine – to enshrine the diminishing of all borders that divide us.

Until Death Do Us Part

In my home country, Japan, there is a legend for girls that says that their prospective husbands have their little toes tied up to them with an invisible red thread. I used to believe in this legend as well. In my opinion it is wonderful to be able to believe in such a thing.

Since we’re infants, we are educated to play a role either as a woman or as man. I still remember when I used to play house-dolls with my friends and how much we enjoyed playing the mother’s role, like all the mothers of every mother. It is a simple but very pleasing memory that all women have inside. However, nowadays I often feel a victim of the male order and often wonder what can I do about it.

I was thinking of this as I was making my box and I felt like I was playing with dolls again because I was doing typical housework tasks such as sewing, washing, and ironing.

I hope you will tender my piece during the traveling exhibition as if it were our collective memory, which men will never be able to understand. And please, wash it and iron it when needed.

P.S. Do you know what? In Japanese, when we say “to get married” we use the word “to be tied up.” In the end, every princess will be tied up to their blue prince.