PAHAYAG 2
“Pahayag 2” reveals a gravitation of Ati communities in Panay and Guimaras
toward cultural convergence. This confluence shows the evolution of the first
settlers of our society from what the general public have viewed with colored
spectacles to a more respectable people who make waves in the visual arts
scene in Western Visayas. The artists in this exhibit bring to the awareness of
rural folk, their life and culture. Drawing inspiration from their indigenous roots,
the works remind the need to strengthen a people’s identity amid the cultural
barrage from Hollywood, pop music as well as fashions in art and style. The
artists’ oeuvres include assemblages, paintings, wood-carved sculptures and
traditional crafts.
The signified values and concepts are freshly reflected in unique sculptural
innovations ranging from combinations of twigs, cloth and beads assemblages to
textured shells and marble chips. The paintings which reflect the Ati lifestyles and
farm scenes use the indigenous “buri” in lieu of a canvas to reinforce the ethnic
messages.
Like the past “Pahayag 1,” this exhibit presents the unique Ati cultural and
historical memory in the 21st century as interpreted by the poetic vision of the
indigenous people’s pioneering visual artists and traditional craftsmen. While the
craftsmen have been doing their crafts, the sculptors and painters just trained
with the mediums of art. The artists demonstrate “beyond the canon” approaches
and are not hampered by the lack of academic prescriptions in a formal fine arts
schooling.
The three-dimensional fish, eagle, turtle and kneeling figure assemblages
from forms made of screen-wire base then embellished with marble chips, shells
and beads introduce what is novel and competitive in the Panay art scene. The
meticulous and ardous task pays as details in contrasting and complementing
designs and colors appeal to the senses. They communicate insights about the
natural habitat and values of spirituality.
The open-fired clay works of varying subjects are recent experiments when
the artists discovered the abundance of the material near their homes in
Guimaras. The material used convey closeness to the basic elements of nature
as they portray a hunter and assorted animals. The inexpensive medium is an
eloquent narrator of how formless nothing can generate value through one’s
ingenuity—a reminiscence of us, the offsprings of the Deity who formed man
from the same.
The wooden sculptures eloquently present what used to be ordinary scenes
and ideas from the Guimaras and Dumarao villages. They are examples of how a
common medium can excitingly become new with fresh renditions of subjects in
smooth and textured variations. Some of them—twigs combined with cloth,
beads and brown synthetic strings—convey wit, humor and intrigue while
presenting the avant-garde.
The common subjects of turtles, “halo”, birds and carabaos mirror helping
animals in the Ati communities. Turtles, birds and “halo” are favorite luscious
menus when cooked. The carabaos determine the possibility of rice production
for consumption. Not only are animals seen in the utilitarian level; they are also
symbolic. The eagle, for instance, is an emblem of strength and vision.
Themes on spirituality are likewise evident in the visual expressions of some
artworks. This is because the artists are serious Baptists and Catholics. The
kneeling woman made of clay and another of beads and shell assemblage, the
crucifix and the Madonna bear them out. The belief in prayer as a form of
worship and means to bring spiritual and physical blessing is shared by the Ati
communities.
The paintings which forcefully convey the indigenous through the “buri”
material obviously matured compared to the last year’s exhibit. Most are done in
cool colors to portray the sitio Nagpana (Barotac Viejo) near the idyllic spring.
“Pangayam” or hunting done by a group, mountainous village with nipa houses
and bird meetings in the spring among others—all have a unifying Ati identity.
While the Ati communities celebrate their newly-found skill and knowledge in
the universally-accepted fine arts mediums to communicate ethnic messages,
they likewise preserve (with the help of the government) what have been handed
down from generations such as “banban” or “nito” products, “pana”, baskets and
the like. The coconut shell products and synthetic accents in woven crafts are
innovations for product improvement.
The innovative oeuvres of the artists show the energy seemingly flowing from
the figurative spring. With such, they possess the potential to grow among the
acclaimed Filipino artists.
LUCELL A. LARAWAN
CURATOR