ART Habens Beth Krensky
[ her ] ancestral well and plucks out what is most relevant. What she finds varies, from stories and objects to images and personas. She reinvents her respective cultural and ethnic milieus. … Eventually the things or detritus she has collected conjure up parables / stories that become infused with icon-like gravitas. These icons in new contexts create a space for teaching and learning. Krensky’ s pedagogic repertoire segues into formal strategies that create templates for survival, if and when the ground underneath shifts yet again( Bittar, 2007, p. 8)
I find that being a member of a diaspora tribe has meant that the“ templates for survival” Bittar wrote about are barely under the surface of my existence.
You are a versatile artist and your approach reveals an incessant search of an organic symbiosis between a variety of viewpoints. The results convey together a coherent sense of unity, that rejects any conventional classification. Before starting to elaborate about your production, we would suggest to our readers to visit http:// www. bethkrensky. com in order to get a synoptic view of your multifaceted artistic production: while walking our readers through your process, we would like to ask you if you have you ever happened to realize that such crossdisciplinary approach is the only way to express and convey the idea you explore.
In 1981, Cherrie Moraga and Gloria Anzaldua edited a collection of writings by radical women of color entitled This Bridge Called My Back. The bridge metaphor is
Portable Sanctuary
used often in the book referring to women of color being the bridge that is thrown over a river or a tormented history for people to walk over. Twenty-one years later, in 2002, Anzaldua and Analouise Keating edited the anthology This Bridge We Call Home in which Anzaldua writes that
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