Imelda was wise enough to show up at the general meeting with handouts of her work and a volunteer position as recording secretary. (I hope I am remembering this right)
Wecome Imelda and thank you for your service.
The following is from Imelda’s website a
http://imeldacajipeendaya.net/current
About the Artist
In my work I get engrossed with the joy of playing with color and texture, combining media and materials, and the passion for expressing a feeling or point-of-view. My process is very intuitive even as I deal with issues—human, cultural or political. Objects and images from home are all very personal, but I use them to evoke larger themes and ideas about being woman of my roots facing global issues.
Imelda Cajipe Endaya has made a strong presence in the Philippine and Asia Pacific art worlds. Moving in summer of 2005 to live and work in Orange County in New York, Imelda brought with her a vast experience as painter, printmaker and installation artist recognized for her distinct womanly visual language and statements. Her works are in the permanent collections of the Metropolitan Museum of Manila, Cultural Center of the Philippines, Philippine National Museum, Fukuoka Art Museum, Okinawa Art Museum, and the Singapore Art Museum.
Among her international exhibitions were the 9th Biennale of Sydney, the First Asia- Pacific Triennial of Contemporary Art in Brisbane, the Museum of Contemporary Art Tokyo, the Asia Society’s “Traditions/Tensions” at the Queens Museum NY, Grand Theatre d’Angers in France, and currently at the Centro Cultural del Conde Duque in Madrid.
She was co-founder and first president of KASIBULAN, a women artists’ collective in the Philippines. She also initiated the PANANAW Philippine Journal of Visual Arts, of which she was first editor. She was co-curator at the Second Asia Pacific Triennial of Contemporary Art at the Queensland Art Gallery. She curated the Creative Collective Center’s traveling exhibition “Who Owns Women’s Bodies,” which toured over a dozen destinations in the Philippines, Thailand and Japan. As an artist in residence at the Ecole Cantonale d’Art du Valais, she conducted an art workshop “Art for a Culture of Peace” in Sierre, Switzerland.
When asked why she had moved to New York, she says: “It’s great to have some change and adventure when one is over fifty. My children are all grown. I have part of family here. There are many opportunities for art in New York. Upstate New York is different from New York, New York, yet I can be in either. New York City has many of the most exciting multicultural events from all over the whole world—but it is also too fast and impersonal. Orange County is nestled in the highlands by the bank of the Hudson River; it is bucolic and beautiful, and its people warm. The community here is proud and supportive of their homegrown artists; I really admire that. Yet I have gained friends and acquaintances here who make me feel I am welcome, even as I continue to create in the direction I have committed to pursue.”
She held her first USA solo exhibition entitled DIGIWATA in March 2006 at the Philippine Center in New York City. Since her relocation, she has been exhibiting locally with the Orange County Art Federation, and the Arts Alliance of the Lower Hudson Valley. Five of her works were exhibited at “The Worth of A Woman,” A V-Day advocacy event against violence on women, held at the Sarabrae Women’s Art Gallery, and The Grail. Her works were included in the recent event “Feast of the Arts” organized by the Historical Society of Newburgh and the Highlands. Some of her pieces may be viewed as well at The Arts Upstairs Gallery in Phoenicia, NY, The Silent Space Gallery in Kingston, NY, and the “Aggregates” exhibit at Ceres Gallery in NYC.
