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Sorrow and its\nbriny companion\, salt\, are at the heart of Edith Abeyta’s 3-part installation\nat El Camino College Art Gallery. A se nse of loss\, whether personal or\nuniversal\, underlies the black humor an d welter of scavenged wood\, greenware\nceramics\, handkerchiefs\, souvenir s and onion soup. Herein lie issues as far\nflung as global warming\, labor \, mass production\, women’s issues\, hand processes\nof reproduction and t he general human impact upon the planet. Abeyta poses\nquestions\, not solu tions.

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Her gift for\ncollaborative participation\, whether with ot her artists\, or with the viewer\, is\nat play in C ry Me a River where\n850 contributed handkerchiefs/ tear collectors\, hang suspended from a grid of\nstring.&nbs p\; On a nearby wall is a block of\n51 hand-drawn and painted hankie s\, collected from 51 artists. \; Viewers are inv ited to draw on other\nhandkerchiefs provided by the gallery and join the f est of sorrow. \; In her work\, which frequently references\ntraditional techniques and traditional societies\, Abeyta pools the\ncontributions of many with the sense that multiple voices are stronge r than\none. Her standpoint is one of detachment rather than possession of ideas and\nart forms.

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In 1792 Marie\nAntoinette was imprisoned\, tried for treason and beh eaded\, due to her position\nas Queen of France\, her aristocratic viewpoin \,t and historical\ncircumstance. \; She has been subsequently\nvilified throughout history. Abeyta takes the viewer deeper than\, \; “Let them eat cake”\, in her installati on 280 (Antoinette’s prison er number). \; 280 is the artist’s recreation of the prison cell\, walls pap ered with\npages of a memoir written by Marie Antoinette’s Lady in Waiting\ , Mme. Campon.\nThe installation provokes questions about revolution-who is the victim or\nvictor\, who the scapegoat.  \; Without intending to exonerate the queen\,\nthe artist \; addresses the complexity of\none woman’s fate and he r position in a time of upheaval. \; On the wall outside the prison chamber\, a\nbe-wigged\, be-rouged photo portrait of Abe yta as Marie Antoinette humorously\nevokes a personal parallel.< /span>

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A raised\nplatform\, 15’x1 5’\, the dimensions of a Sumo wrestling ring\, is the setting for Heart\nFollows Bird. Overhead flies a delicate strin g of off-white prayer\nflags\, each bearing the embroidered name of one of 340 species of migratory\nbirds that depend upon the S alton Sea for\npassage. \; This inlan d sea\, which has\nbecome increasingly polluted and mal-affected by global warming\, has evaporated\ninto a toxic wasteland\, killing fish and fowl th at frequent the waters. With\nSumo reference to ancient struggle\, Abeyta s tages the conflict of man vs.\nnature in a drama with wrestlers depicted on ceramic vessels mounted on pier\npilings surrounded by strings of transpar ent fish in the much-too-salty\nlagoon. \; \; \;

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Edith Abeyta\ncreates an atmosphere that lies somewhere between Early America and \ncross-cultural anthropology. The work is open ended\, tangential and\ngen erous. \; Conceptual but neither\ntheoretical nor rhetorical\, Salty: Three Tales of Sorrow< span style=""> \; is informed by a smart synthesis of\nhistorica l reference and personal experience. \;\nHer rece ptions and exhibitions are opportunities for a unique sort of\nsocial gathe ring and dialog between both friends and strangers. \; < /span>

DTEND:20071214 DTSTAMP:20141222T093207 DTSTART:20071119 GEO:33.8844615;-118.3267305 LOCATION:El Camino College Art Gallery\,16007 Crenshaw Blvd. \nTorrance\, C A 90506 SEQUENCE:0 SUMMARY:Salty: Three Tales of Sorrow\, Edith Abeyta UID:9497 END:VEVENT BEGIN:VEVENT DTEND:20071119T210000 DTSTAMP:20141222T093207 DTSTART:20071119T190000 GEO:33.8844615;-118.3267305 LOCATION:El Camino College Art Gallery\,16007 Crenshaw Blvd. \nTorrance\, C A 90506 SEQUENCE:0 SUMMARY:Salty: Three Tales of Sorrow\, Edith Abeyta UID:9498 END:VEVENT END:VCALENDAR