“Archaeology of Memory” is an exhibit that is sure to not only entice and excite the viewer’s mind but also their other senses. It is an aromatic, botanical experience showcasing the journeys, hardships and beauty of Chicana women through ghostly imagery, de-constructed ofrendas and so much more. Amalia Mesa-Bains is a Chicana artist with over 50 years of experience creating moving pieces that lift up and revitalize Chicano culture. She takes her inspiration from her grandmother, sister, mother and other Chicana artists like her early art teacher, Yolanda Garfias Woo.
Immediately when walking into the exhibit, one notices the air is infused with an aroma akin to lavender and sage, which later is explained by the floors filled with herbs, lining frames, models and sculptures. The plants and herbs are used to represent and draw attention to her Mexican heritage paying homage to their healing properties and uses throughout Mexican history. This sensory experience engages viewers on more and different levels than typical artwork, entertaining not one but two senses and strengthening the artist’s overall message.
A big theme throughout all of her works featured in this exhibit is the theme of womanhood through the eyes of religion and the patriarchy. Pieces such as a glass case filled with communion and baptism dresses surrounded by skeletons and dead petals indicate the idea of purity culture and the oppression women face and are forced to uphold in religious settings. Pieces in this exhibit surrounding communion — including mixed media such as clothing, objects, mirrors and petals — are part of “Venus Envy Chapter 1: First Holy Communion, Moments Before the End” which ranged from 1993 to 2022. Themes in this section include the historical context surrounding the Catholic Church and its effect on Mexican culture as well as how these traditions specifically limit Catholic Mexican girls. The pieces in this section delve into the archetypes of the nun, the bride and the virgin, exploring what they mean to women and their effect on their roles in society.
Something seen in almost all pieces in this exhibit is the use of mirrors; it is particularly fascinating to think about if these mirrors are meant for the viewer to see themselves in the pieces or if the mirrors are more of a reflection and look into the bigger message. Perhaps it is both, as the mirrors include almost ghostly images of the artist, her mother and her grandmother. Women like Frida Kahlo and other historical figures are also included, indicating that women, prominent or not, are often overlooked or looked past, their recognition denied.
The mirror also plays another role in larger pieces like “The Vanity Table,” which is a large vanity with a mirror facing out; the mirror includes another ghostly image, this time showcasing an Aztec sculpture of the feminine deity Coaticule. Mesa-Bains hoped to celebrate her culture while also drawing attention to pro-feminist foremothers and powerful female, gender-defying goddesses and deities. The table includes many religious items like a small sculpture of a nun and the Virgin Mary. It is also decorated with dazzling beads, flowers, lace, pearls and many more feminine elements.
Throughout this exhibit, Mesa-Bains’ work combines elements and ideas including religion, family, tradition, immigration, femininity and so much more. These ideas are used to deconstruct and explore the effect this society and its norms have on women, particularly Catholic Chicana women. “Archaeology of Memory” is on exhibition at the San Antonio Museum of Arts from Sept. 20 until Jan. 12, 2025. General admission for adults is $22, with no additional charge to enter this exhibit, and UTSA students get in for free.
