As she makes her posthumous debut at the Venice Biennale and her work appears at MoMA PS1, Abad, who died in 2004, seems finally to be finding her audience.
It’s easy to see why Pacita Abad’s work resonated with Faith Ringgold. Like her American counterpart, Abad—a native of Basco, Batanes, in the Philippines—was also both an expressive painter and a master of the narrative quilt, embracing and elevating a medium long dismissed for its folksy domesticity. Also, decades before the globalization of the art world in the 1990s, Abad was already creating work that referenced multiculturalism and immigration; her L.A.
“First, she did some embroidery on my shirt, and then she embroidered her skirt,” Garrity says. “She would go out into the streets by herself in Bangladesh, in a rickshaw, and just paint scenes and sketch.” Soon, that technique—as well as the various textiles she picked up during their travels—made its way into her artworks. Abad’s signature format was trapunto, a style of large-scale quilt.
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