BY JAY BAUTISTA |
I believe I was born an activist through
art.
--Dondon Jeresano
Estado comes at a time
when a fresh mandate has just been handed over by the people, suspending much
of our disappointment and illusions in temporarily disbelief from the previous presidential
administration on the side. At a period when much of Philippine art being
produced these days are from the dictates of auctions or personal emojis, Dondon
Jeresano continues his in-depth expositions to the blatant wrongdoings of
society by unraveling deeper into that quagmire of what destructs the very root
of the system that governs us. Using architectural interiors of the very institutions
that commands the governed as loci, Jeresano
conforms aesthetically with the whys
and not necessary the hows of their contexts
to the messaging they seek to impart to its viewers.
When architect Daniel Burnham planned Manila during the
Commonwealth period he made sure elegance and permanence as the cornerstones of
American legacies following Roman and Greek examples. These institutional
buildings of our branches of government—executive, legislative and judiciary--would
reflect the sense of dignity and power that emanated from what they represent.
The three states of power
consist of the visible expressions of governance, laws, and justice as symbols
of our acquired democracy in action.
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| Lost in Paradise |
Lost in Paradise is a rowdy depiction of a dysfunctional presidency’s as seen
in his sordid representative office at the Old Malacanang. With loss of faith
and respect, the aesthetic chaos is best represented by the composition lambasting
our leaders prioritizing themselves than others. With the floors creative
deconstructed, fluffy cakes speak of the lust for greed; of having it and
eating it too. As his signature take, Jeresano prominently floats showing him
involved to its solution. Man is inherently lustful for power and fame as Jeresano’s art
cascades to find significance to this artistic fixture. He imparts it is in
rising from one’s fall, when one learns, his lessons one becomes strongest in
every challenge.
The
Supreme Court Hall of Justice in An
Apple a Day is often venerated as sacred ground breeding equality to the
law. However it is often the scene of purges with blood-stained clothes of
hapless victims, piling up amounting to delayed justice. A drifting apple
embodying the truth blends while headless magistrates abound showing disrespect
for the law and order complete the goriness of this picture. How often has this
estate been used as the affirmation of a lie well told a thousand times you are
even convinced of its reverse falsehood.
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| An Apple a Day |
Main Attraction is a powerful
allegory of poverty being neglected by a shanty inside the classic interiors of
the Old Senate Session Hall. Disturbing sensibilities social realism has never
been pleasing to the eyes. One should train to view how it strains the eyes.
Jeresano presents it at it is—right smack to your face. The Old Senate Session
Hall was the oldest and longest home of our lawmakers. It has been the last
refuge of the those who have less in life. Pillows-abound representing dreams
of ordinary people such as a place to sleep on with roof over their head.
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| Main Attraction |
With
a background in architecture Jeresano’s realism remains steadfast as a fusion
of social commentary and contemporary imagery. It always has strong political
contents while his aesthetics revolve around anatomies and allegories of people
confronting the dark perils of their lives. Always leaning towards the cause of
the multitude have been oppressed, he tackles problems as his luring appeal
lies in the composition making sure his symbols freely converse each other. It
may not sit well in the proper gallery set up. It may have the formal mechanism
of art but it seems comfortable seen outdoors or in the streets.
He
usually starts by finding his themes by painstakingly researching for them. He
then finds the architectural perspective to go with it, even the choice of
exterior or interior is compulsively interesting. Upon finalizing, he then
sketches on canvas only to finish with color.
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| Untold Story 1 |
Jeresano’s
art yearns for something beyond. With architecture backdrop as
particulars, a dialogue among iconographic
images attempts something critical and profundity emerges. With an antiestablishment pun
in presence of barber chairs these tales are what seems to be a consistent
influx of sham drudgery and broken dreams. What is not taken seriously leaves bad taste in the mouth and
gut as in Untold Stories where small
pieces forming triptychs compliment and enrich his main pieces.
Estado doubly reflects the current situation of the
prevalent disillusion from the powers-that-be.
It is also the governing body that rules at the present in all of
us. Jeresano would want us to be vigilant of
whatever false hope our government imparts to us. A realist by heart, it is his
distinct visual style he has crafted that marvels us to move forward. He is
most comfortable with and his audience could best identify. It is the
blatant reality we all witness daily, even turn a blind eye to.
Jeresano
identifies with the low and downtrodden. He forces himself to paint what they should
know in their lives as his desire to let his art pinch the heart of the viewer.
As an activist he does not clenches his fist rather he painterly applies his advocacies
and issues on his many a canvases. More than this challenges him he wants
people to recognize themselves in his paintings; upon revealing only can their
emancipation begin.
Estado is ongoing at the Pinto Art Museum in Antipolo City.
