I, Hildegard, Saw

Paraguayan American artist and activist Faith Wilding rose to prominence in the 1960s and 70s for her defining role in the development of feminist art in Los Angeles. She was instrumental in establishing the Feminist Art Program at CalArts (1971-1974) alongside Judy Chicago and Miriam Schapiro, contributing to landmark projects such as Womanhouse (1972), a collaborative performance and installation space. A staunch eco-feminist, Wilding continues to explore themes of womanhood, ecology, and social justice alongside an interest in spiritual practices. This sustained engagement is evident in I, Hildegarde, Saw (2020), which recounts the divine visions experienced by the titular female polymath. Wilding's interpretation of the illuminated manuscript tradition draws equally from medieval art and contemporary abstraction. Here, she combines bold, alternating bands of color alongside intricate floral marginalia. Wilding borrows elements from manuscripts created by Hildegarde herself, incorporating natural and cosmological forms to create an ambiguous mandorla or labial shape.