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Images from Lim(b)it
For the installation the artist known for her work
with found and salvaged objects transformed the gallery into a quiet,
meditative space. Using 600 handkerchiefs, eight miles of string, found
photographs, candles, and a tree outside the gallery, Abeyta calls
attention to the incarcerated women who have killed their abusers in
self-defense. She examines this injustice through the use of simple,
common objects that act as symbols not only for the women behind bars but
also the women murdered by their abusers, and the battered women who have
survived. Commemorative objects resembling souvenirs have been created for
viewers to offer their support with the proceeds benefiting
Free Battered Women.
Lim(b)it was made possible by contributions from
the following:
Charlene Abeyta, Al Armijo, Marshall Astor, Charlene Calac, Bernice
Colman, Elva Enrique, Ricky Evans, Mitra Fabian, Staci Gabrielli,
Catherine Garedakis, Jeanette George-Becker, Anthony Gilfillancon, Phillip
Ginder, Lucy Hagipian, Michele Hubacek, Connie Jackson, Andy Jenkins, Ami
Kealoha, Paula Logan, Rodney Lucas, LuPam Gallery, Steven Malawsky, Helen
McDonagh, Victoria Murphy-Luchansky, Jan Pedersen, Amy Roth, Charlene
Roth, Allyson Shaw, Joseph Spears, Maggie Sumner, Triliegi Studio, Kathy
Uram, Maryann
Vanhoomisen, Porous Walker Special Acknowledgement to: Charlene Abeyta for
her expert handling of the wax detail; Rob Abeyta for graphic design and
transportation; Marshall Astor for endless support, opportunities and
possibilities; Johanna Hoffman, Gloria Killian and Charlene Roth for their
presentation and discussion of the issues
regarding the installation; Michele Hubacek, Philip Ginder, and Allyson
Shaw for the generous financial contributions; Robert Tower for the
handcrafted champagne and ginger ale and unending acceptance and support;
and Pamela Wells for the cartographic documentation of the marmalade and
raffle ticket sales.
Catalogs designed by:
Staci Gabrielli, Catherine Garedakis, LuPam Gallery, Pamela Wells and
Robert Tower
Lim(b)it is dedicated to my mother, brother and aunt (1949 – 1969). |
Edith Abeyta
Artist Statement
"Tell me about this," said one of the teenage
girls of a pair that wondered in resembling Enid and Rebecca from
Ghostworld. "No, come back on Saturday," I replied.
A few minutes later an artist walked in the door. I related to her the
exchange with the two Ghostworld girls. We talked about the audience and
how we both felt that as artists we worked very hard and it was the
viewer’s job to determine meaning. She said she finally posted a statement
in her installation which she would point to when someone asked, "What
does this mean?"
Another day goes by and approximately 300 of the 600 handkerchiefs are
suspended. A man stands outside the open door and says, "that looks like
the Klu Klux Klan marching." I immediately came to the door and said, "no,
no they are handkerchiefs." He walks away. Prior to his interjection my
thoughts were focused on meaning, the shifting and flexibility of the
meaning,
the impermanence of it. I thought I was secure in this belief yet when
faced with an uncomfortable reading of my work I immediately insisted his
interpretation was inaccurate or not what I meant.
Another hour goes by and more handkerchiefs are hanging from strings.
Three people walk in, two of them exit, and one man remains. He is at the
door. He is staring at me. He looks like he wants to speak. I am standing
on the ladder, I say, "hello." He enters the space and comes closer. He
asks if I know of GIS maps. He states that although he does not know my
intention he is reminded of these maps. He goes on to talk about how
meaning is determined by what each viewer brings to the work. I tell him
about the KKK interpretation and he has another look. I ask him to tell me
the name of the maps again. He says there is a website
www.esri.com that has numerous examples
of Geographic Information Systems. I climb down the ladder and write the
URL down. I shake his hand and thank him for the exchange. His two
companions return looking for him, they smile at me, and I overhear him
say something to them about his art critique.
I continue to work and think about meaning, knowing that Lim(b)it began
with a spark, a statistic reported on a radio program that I heard which
lead to research, thought, action, and realization of the installation.
Throughout the process the meaning of the work has shifted, morphed, and
expanded for me. For me it is about injustice, endurance, stamina,
memories, surrender, empowerment, freedom, restriction, being out on a
limb, reaching one’s limit, hanging by a thread, grandfathers, repetition,
women’s labor, sewing, saving, support, heritage, ethnicity, honor,
change, long hours, being strung up, intervention, rescue, coming
together, incarceration, critique of institutions, strength, connection,
the impact of one on many, …
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