Search results for ""Author Pio Abad""

Pio Abad’s artistic practice is concerned with the personal and political entanglements of objects. His wide-ranging body of work, encompassing drawing, painting, textiles, installation and text, mines alternative or repressed historical events and offers counternarratives that draw out threads of complicity between incidents, ideologies and people. Deeply informed by unfolding events in the Philippines, where the artist was born and raised, his work emanates from a family narrative woven into the nation’s story. Abad’s parents were at the forefront of the anti-dictatorship struggle in the Philippines during the 1970s and 80s and it is the need to remember this history that has shaped the foundations of his work. This beautifully designed book accompanies the Ashmolean Museum's second exhibition of its new Ashmolean NOW series, featuring the work of Pio Abad. Abad’s artistic practice is concerned with the personal and political entanglements of objects. His wide-ranging body of work, which includes drawing, painting, installation, textiles and text, mines alternative or repressed historical events, offering counternarratives. Abad's new works link narratives found in the Museum's collections and Oxford with his personal life in the UK and Philippines, where the artist was born and raised. The book features a new text by Abad and contributions by art historical experts including Dan Hicks.

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A comprehensive survey of Abad's visually dazzling and politically prescient works blending fabric and painting This volume surveys three decades of Pacita Abad’s multifaceted practice. Published on the occasion of her first-ever retrospective, it includes new research and writing by Julia Bryan-Wilson, Ruba Katrib, Nancy Lim, Matthew Villar Miranda, Victoria Sung and Xiaoyu Weng, an edited oral history about the artist’s life and work by Pio Abad and Victoria Sung, and never-before-seen artworks and archival materials. Over the course of her career, Abad made an exuberant, wide-ranging body of work that was ahead of its time in promoting a transcultural worldview. Moving between the Philippines, Indonesia, Singapore and the US—while also spending extended periods in dozens of countries on six continents—she interacted with the many artist communities she encountered on her travels. Drawing on her knowledge of global fiber traditions, Abad innovated a hybrid art form that she called “trapunto” painting (from the Italian word trapungere, “to embroider”). Made by stitching and stuffing her painted canvases as opposed to stretching them over a wood frame, the resulting works’ portability speaks to her peripatetic existence, while their association with textiles evokes female, non-Western forms of labor that have historically been marginalized as craft. Pacita Abad (1946–2004) was born in Batanes, Philippines. Because of her activism against the Marcos regime, she was forced to leave for the US in 1970, where she studied Asian history at the University of San Francisco and painting at the Corcoran School of Art in Washington, DC, and the Art Students League in New York City. Abad created more than 5,000 artworks and had over 60 solo exhibitions in the US, Asia, Europe, Africa and Latin America.

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