Pacita Abad, Arjuna, 1997

Oil, Sequins and broken glass on stitched and padded canvas
100 x 100 cm (visible), 104 x 104 x 5 cm (framed)
Condition Very good

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Pacita Abad (Filipino, 1946-2004) was a pioneering Filipino-American artist. She initially pursued a law degree but ultimately chose to follow her true passion for art. She moved to San Francisco to study at the Corcoran School of Art, embarking on a remarkable artistic journey.

Abad's art defied categorisation, as she fearlessly explored a wide range of styles, techniques, and media. Whether through large, abstract paintings or intricate mixed-media assemblages, Abad's art exuded energy and a sense of discovery. She was greatly influenced by her extensive travels and the diverse cultures she encountered, most commonly from the rich tapestry of Southeast Asian aesthetics that reflected her deep appreciation for the region's colours and patterns. Abad also passionately engaged with social and political issues. Her art became a platform for addressing a wide array of concerns, including human rights, cultural identity, and environmental activism. She used her creativity to shed light on pressing global challenges and promote dialogue and change.

During the last year of her life, while undergoing daily radiotherapy for her cancer, Abad completed a massive project of painting the Alkaff Bridge over Singapore River with 55 different colours and over 2,300 circles. The project was completed in seven weeks and was inaugurated in late-January 2004.

When Pacita Abad first visited Indonesia in 1983, she was immediately captivated by wayang kulit, the traditional shadow puppet theater made from buffalo skin. Rather than studying wayang from an anthropological perspective, she was drawn to its social function in Javanese communities, particularly its role in moral teaching and social commentary. As she told Asian Art News, "I like the idea of working on the wayang because of their concept and individual nature. I like how the wayang are used for social statements." She attended performances and visited the Wayang Museum, studying the characters and stories from the Ramayana and Mahabharata. Initially attracted to the bright colors and visual drama, she began painting the characters she loved most: the Pandawa brothers and their allies.

Pacita incorporated wayang into her signature trapunto painting technique, stitching and stuffing materials directly onto canvas to create richly textured surfaces. She embellished her wayang paintings with local Indonesian textiles like ikat and batik, materials she collected from markets during her travels. This approach honored the cultural traditions she encountered while transforming the flat, two-dimensional puppet form into bold, three-dimensional artworks that carried the spirit and symbolism of wayang kulit into contemporary art.

Acquired from Artfolio (located in Raffles Hotel) in 1999.

(Photographed in October 2025)