Pacita Abad, a late Filipino artist, is finally receiving the recognition she deserves for her pioneering work in fabric art. Relocating to San Francisco in 1970 to escape the authoritarian Marcos regime in the Philippines, Abad created around 5,000 artworks before her untimely death from cancer in 2004 at the age of 58. Although she was well-regarded by fellow artists, mainstream art institutions often overlooked her during her lifetime, dismissing her work as too “folksy.”
Abad was best known for her innovative adaptation of the trapunto quilting technique, where layers of textiles are stuffed and sewn together to create a three-dimensional effect. She would paint on these quilts and attach objects like buttons, mirrors, and seashells, collected from the subjects of her works. Her art often addressed political conditions, the immigrant experience, and the role of women in society.
Her legacy began to gain traction around 2018 when her ex-husband, Jack Garrity, and family members started showcasing her art more widely. This effort has led to significant exhibitions, including a retrospective at the Walker Art Center in Minneapolis in 2023 and another at the Museum of Modern Art PS1 in New York. These exhibitions highlight Abad’s unique blend of art, craft, and political commentary.
One of the most striking pieces in the PS1 exhibition is a 16-foot tall trapunto titled Ferdinand Marcos and His Cronies (1985). The artwork, created over ten years, depicts the former Philippine dictator as a devil devouring his people, with intricate details like stuffed snakes and small dolls adding to its impact. This piece is emblematic of Abad’s ability to make powerful political statements through her art.
Abad’s work was deeply rooted in her Filipino heritage, with her use of fabric reflecting the Philippines’ rich folk traditions. Her extensive travels with her husband, a World Bank economist, also influenced her work, as she engaged with local textile workers and integrated their techniques into her art.
In her later years, despite battling cancer, Abad continued to create, even painting Singapore’s Alkaff Bridge as part of a public art project. Today, her legacy is being celebrated, aligning with a broader recognition of fabric artists, especially women, as serious contributors to the art world. As interest in craft, tradition, and the handmade grows, so too does appreciation for Abad’s groundbreaking work.
READ MORE: