"Makiling Mythos"
Altro Mondo Creative Space,
1159 Chino Roces Avenue, San Antonio Village, Makati City(February 24-March 16, 2024)
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Among the rich tapestry of myths, the Myth of Mt. Makiling stands as one of the most cherished folktales in Laguna, resonating deeply with local artists and communities alike. At its core lies the tale of Maria Makiling, a benevolent guardian goddess of the rainforest, whose beauty and kindness are matched only by her fierce protection of those who honor and respect the mountain's inhabitants.
The collective discourse that emerges from these artistics endeavors serves as a crucible for diverse perspectives and ideas, sparking a myriad of interpretations and visual representations. Thus, the exhibition becomes a celebration of the unique experiences and artistic expressions of the visual arts graduates from the Philippine High School for the Arts. The exhibit features Keith Paras, Mark Cosico, Jualim D. Vela, Reymar Gacutan, Janno Gonzales, Rudolf Barredo, Luce Melegrito, Gerardo Leonardo, Nina Ricci Alagao-Flores, and Juanito Torres.
It is within this crucible that the essence of Makiling finds new life, as each artist endeavors to imbue their work with personal meaning and interpretation. Through their creative expressions, they embark on a journey of self discovery, reimagining age-old narratives to illuminate the pathways toward artistic enlightenment and the pursuit of individual identity.
The collective discourse that emerges from these artistics endeavors serves as a crucible for diverse perspectives and ideas, sparking a myriad of interpretations and visual representations. Thus, the exhibition becomes a celebration of the unique experiences and artistic expressions of the visual arts graduates from the Philippine High School for the Arts. The exhibit features Keith Paras, Mark Cosico, Jualim D. Vela, Reymar Gacutan, Janno Gonzales, Rudolf Barredo, Luce Melegrito, Gerardo Leonardo, Nina Ricci Alagao-Flores, and Juanito Torres.
It is within this crucible that the essence of Makiling finds new life, as each artist endeavors to imbue their work with personal meaning and interpretation. Through their creative expressions, they embark on a journey of self discovery, reimagining age-old narratives to illuminate the pathways toward artistic enlightenment and the pursuit of individual identity.
"to weave is to tell stories of home"
Acrylic on Canvas24" x 36"
2024
Acrylic on Canvas24" x 36"
2024
Migration is my family's love language.
My ancestors found ways to leave home for different reasons: my great-grandfather, Lucio Quitevis, worked as a plantation worker in Hawaii and later moved to the United States mainland to work as a houseboy in Chicago; my grandaunt, Rosita P. Dawi-Abundo, had to flee from their sitio in Salcedo, Ilocos Sur and sought refuge in the mountains away from the Japanese forces during World War II; my mother, Faye Q. Flores-Melegrito, left her childhood home in Caoayan, Ilocos Sur to study at the University of the Philippines Diliman. They all had different reasons for leaving their homes —work, war, and pursuit of wisdom — among many other reasons that brought forth the rest of my family's migration stories.
Makiling became the start of my own migration story. I was a few months shy from turning 13 when I left Marikina City to study at the Philippine High School for the Arts in Mt. Makiling, Los Banos, Laguna. Makiling, as we Ibarangs fondly reffered to PHSA, turned out to be an entirely new world from where I came from — in contrast to the fast-paced city life I was used to, the tranquil and warm environment Makiling has was a breath of fresh air, literally and figuratively. Makiling became more than my home: she was my family who welcomed me with open arms; my friend who kept me company through the loneliest nights; and she was my confidant with whom I shared my secrets with. Makiling made me feel at home, for a child who had to leave home for six years.
I am an amalgamation of these migration stories. I carry with me my family's stories, and simultaeneously, I weave my own. Featuring the different Ilokano inabel motifs, I explore how Makiling became the catalyst for me to start weaving my own narratives. I chose the motifs "kinarkarayan" (river) which also looks like mountains, and "sinan-sabong" (flower) because these closely resemble my impressions of Makiling.
After graduating last 2022, no matter where I am or how far I have come, Makiling still finds its way back to me — still a friend, companion, and my home.
My ancestors found ways to leave home for different reasons: my great-grandfather, Lucio Quitevis, worked as a plantation worker in Hawaii and later moved to the United States mainland to work as a houseboy in Chicago; my grandaunt, Rosita P. Dawi-Abundo, had to flee from their sitio in Salcedo, Ilocos Sur and sought refuge in the mountains away from the Japanese forces during World War II; my mother, Faye Q. Flores-Melegrito, left her childhood home in Caoayan, Ilocos Sur to study at the University of the Philippines Diliman. They all had different reasons for leaving their homes —work, war, and pursuit of wisdom — among many other reasons that brought forth the rest of my family's migration stories.
Makiling became the start of my own migration story. I was a few months shy from turning 13 when I left Marikina City to study at the Philippine High School for the Arts in Mt. Makiling, Los Banos, Laguna. Makiling, as we Ibarangs fondly reffered to PHSA, turned out to be an entirely new world from where I came from — in contrast to the fast-paced city life I was used to, the tranquil and warm environment Makiling has was a breath of fresh air, literally and figuratively. Makiling became more than my home: she was my family who welcomed me with open arms; my friend who kept me company through the loneliest nights; and she was my confidant with whom I shared my secrets with. Makiling made me feel at home, for a child who had to leave home for six years.
I am an amalgamation of these migration stories. I carry with me my family's stories, and simultaeneously, I weave my own. Featuring the different Ilokano inabel motifs, I explore how Makiling became the catalyst for me to start weaving my own narratives. I chose the motifs "kinarkarayan" (river) which also looks like mountains, and "sinan-sabong" (flower) because these closely resemble my impressions of Makiling.
After graduating last 2022, no matter where I am or how far I have come, Makiling still finds its way back to me — still a friend, companion, and my home.
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