Throughout her years as an artist, Pacita Abad was deeply engaged in learning and adopting various artistic traditions from all corners of the globe. Her insatiable curiosity and open-mindedness led her to explore diverse techniques and styles, which she then skillfully integrated into her own artistic practice. Abad used these techniques as a medium for creating art that was truly diverse and global in nature. Her unique approach not only garnered her acclaim and recognition worldwide but also played a significant role in bringing together previously isolated and distant cultures through art.
Despite this, Abad never forgot her own roots, specifically those deeply planted in her home province of Batanes. A stark contrast to her experimentations in mixed media and undertakings in foreign traditions, Abad’s Batanes series is a love letter to the artist’s home. As the title suggests, the artworks transport viewers to the lush isles of Batanes, effectively showcasing the distinct and unique culture of the Philippines’ northernmost region. However, they do more than simply act as idyllic windows into the charm of Abad's hometown. In Sapuno, we see the exterior of a local household. Pots and pans are seen left out to dry in the yard, while on the ground we see domesticated birds, pecking at the ground for feed and sustenance. The work is a rare glimpse not only of life in Batanes during the time, but Abad’s own inner world.
According to Abad’s estate: “Once she realized that her cancer was fatal, she decided that she wanted to die in her Batanes studio overlooking the ocean. After spending two weeks on her last trip to Batanes, she was grudgingly convinced that she had to return to Singapore in order to receive proper medical treatment that was simply not available on the island. After her death, Pacita's ashes were brought back to Batanes.” (Jed Daya)