Modern Negrense Family

PHOTO: GUENIVERE DECENA LOOK IN THE MIRROR AND SAY I LOVE YOU acrylic on canvas 36X48 inches

What constitutes a family in today’s times? Over the last generation or so, the nuclear unit of the family–father, mother, and their children–has both altered and remained the same, in concept and in composition. While clearly defined by law, society and the church, the notion of family has arguably changed beginning in the late 20th century, as people in many parts of the world live in unprecedented freedom–in mobility, work, education, lifestyle, ideas and, not least, technological and information access. Particularly for third-world countries such as the Philippines, whose majority population belongs to the lower to middle income categories, the makeup of the core family unit has become vulnerable to these factors, including the state-sponsored valorisation of the Overseas Filipino Worker (OFW) or bagong bayani as savior of the economy. As the University of the Philippines Population Institute has declared: “The Filipino family is in transition.” 

The exhibit MODERN NEGRENSE FAMILY aims to explore the nuances of the Filipino family’s “transitions” by focusing on the specificities of the southern province of Negros Occidental, the sixth most populous in the country. To do this, the exhibit has tapped seventeen local artists to respond to the question: what is the modern Negrense family? With ages ranging from 20s to 80s, this diverse group of artists represents three generations of Negrense family life, holding up lenses of various strengths and transparencies from which to look critically at the state of families in their communities, without sparing their own. The resulting collection of paintings, sculptures, prints, photographs, mixed media works, and installations present affecting portraits of contemporary local family life, which point to sociological, psychological, and politico-economic issues that need unpacking and further understanding. Abandonment, separation, economic hardship, and pervasiveness of technology are some of the themes that overlap throughout the exhibition. 

MODERN NEGRENSE FAMILY is not designed to be comprehensive and definitive in its representation, nor is it meant to be an occasion for artists, as well as viewers, to pass judgment on one another. This exhibition hopes to give voice to a diversity and plurality of perspectives and to engender a conversation that can be beneficial for all. 

Names of the Participating Artists, from eldest (80s, top name) to youngest (22 yrs old, bottom name):

Participating Artists

Rafael Paderna, Rodney Martinez, Perry Argel, Angela Silva, Roedil “Joe” Geraldo, Revo Yanson, Neil Benavente, Darel Javier, Frelan “Pakz” Gonzaga, Moreen Austria, Olive Gloria, Michael John “Mikiboy” Pama, Guenivere Decena, Erika Mayo, Brandon Braza, Vincent Sarnate, Ann Gaurana 

Notes/Themes:

Negros of old vs. new Negros — “The New Negrenses” painting of Rodney Martinez (80+ years old)  

• shows a backdrop of traditional Negros Occidental as he knew it growing up, but he puts front and center the cheeky, very casual images of current-day Negrenses who seem to be more focused on individuality rather than conformity to societal standards

Technology — 

– “Into The Ring of Fire” painting by Neil Benavente (50+ years old)

– “Groupie” painting by Darel Javier (50+ years old)

• both artowrks show in a very humorous and relatable way the pervasiveness and power of TECHNOLOGY AND TELECOMMUNICATIONS in dictating the behavior of modern Negrense family members; social media technology as an addiction

Technology and Migration — “Modern Negrense I and II” painting and brass sculpture of Rafael Paderna (80+ years old)

• Works indicate that the modern Negrense family is very much a part of the technology savvy generation 
• but also conveys the artist’s observation of the CONTINUED desire to RELOCATE AND MIGRATE OVERSEAS AS A FAMILY for a better lifestyle and a brighter future for the children. He also observes that this option is usually available only to the middle to upper classes. 

OFW Phenomenon/ Separation/ Abandonment — the artworks are an indictment of the OFW phenomenon and by extension, the government, as it has caused a tension in familial existence and has created new normalities in family life

• “Si Manang Kong Nanay, Si Nanay Kong Tatay” painting of Revo Yanson (50+ yrs old) shows that as long as traditional roles of provider and nurturer are occupied effectively, the nuclear family is still complete
• “[Father] Figures” mixed media work of Frelan “Pakz” Gonzaga (40+ years old) illustrate the repercussions of fathers leaving, whether for long OFW stints abroad or in abandonment of their families for whatever reason; Effects on the women and children are foregrounded

• “Home Seek” and “Bagahe” airline chair/suitcase installation of Brandon Braza (23 years old) focuses on his father’s estrangement of him and non-acknowledgement of his gender identity

• “Balikbayan Box,” “Sardinas,” and “Panyam-Is” are playful and colorful terracotta sculptures of children by Vincent Sarnate (20+ years old), who is a schoolteacher; these innocent-looking sculptures reveal that there is almost an entire generation of young people in Brgy. Ayungon, La Carlota growing up with mental health problems and distress due to missing parents

Personal and Social Costs of Separation/Abandonment

– “Look in the Mirror and Say I Love You” painting by Guenivere Decena (30+ years old) uses the concepts of reflecting and mirroring in the service of her commentary on what, to her, is a modern Negrense family; reveals the strong matriarchal line that is evident in many modern families, including hers

– “Time is Greater Than Space” mixed media fabric painting by Olive Gloria (40+ years old) shows a profiling of a Negrense weaver (from the distant city of Valladolid) using the technique of body mapping with traditional and found commercial textile; in this life-sized work, she lays out the Issues and challenges that the weaver encountered in bringing up a nuclear family

Women Taking Agency

• “Departure,” “Outside Looking In,” “Mountains Made of Clouds,” and “He’s Home Safe” are paintings by Erika Mayo (20+ years old) that show the woman in the family (as opposed to the father) leaving her children to seek out a better life for the family; works were inspired by her own grandmother who had to work overseas as a caregiver

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• The cyanotype collages of Angela Silva (60+ years old) point to the measures taken by strong independent women, more often than not of the privileged class, to create a better life for themselves; the collages focus on divorce, annulment, and alimony . 

Resisting Societal Standards and Conventions

• “THE NON ARTICULATION OF BEING AND IN A FAMILY (LION and ELEPHANT SERIES) are glass figurines and photographs by Moreen Austria (40+ years old) that reflect a search for healing and wholeness from childhood pain as a result of society’s impositions on her family

• “The Lovers” painting by the youngest artist, Ann Gaurana (22 years old) points to her belief that a family does not require having children; she believes that in modern times, being with a partner without any children, as long as the couple shows their vulnerability to one another, can already be considered a family.

Modern Negrense Family As Seen from a Broader Context

• “Mag Dayon Kamo” cabinet assemblage (with an audio component) of Michael John “Mikiboy” Pama depicts, on a macro level, the sociological and economic landscape of Negros, and then focuses on constituent  parts of what makes a Negrense family, and then brings them all together in illuminated and graphic dining scenes by representative families

– “The Desire of Love” and “Sagrado” wooden relief sculptures by Roedil “Joe” Geraldo depict how modern families, similar to  families in generations past, are always BESET BY TEMPTATIONS AND DESIRES, and that the way the members can stay together as a unit is really only through love, respect, and faith. 

• “Conversations #Unfinished” painting by Perry Argel (70+ years old) can be interpreted as a commentary on the environment; shows how we should always CONSIDER NATURE AND THE ENVIRONMENT AS PART OF THE MODERN NEGRENSE FAMILY that we should always care for and protect. 

Off Center Creative Initiatives: 

Curator: Georgina Luisa “Gina” O. Jocson

Description: 

Platform for curatorial projects and cultural entrepreneurship endeavors focused on the development and promotion of the arts and culture ecosystem of Negros Occidental and the Visayas region. The modifying phrase “off center” is used to refer to localities outside of Metro Manila, which is the acknowledged “center” of the art world in the Philippines. Madamo gid nga salamat!