I gladly did so and also published the text in my column in Star (published on 18 Feb) because I really do believe in giving artists exposure. A lot of the media have picked up on the "art thing" since the Philippine art scene has never been more exciting and it's a bit hard not to notice once you start going to openings and feeling the energy. Yet, most of the art coverage is limited to magazines. Space for the arts in the papers is very limited. I'm very grateful for my column in Star which allows me to reach a wider audience.
Anyway, please check out more of Marina's work here. She shares a website with her husband, Rodel Tapaya, who is also another talented Filipino artist and who has recently been working with acrylic on large-scale canvases (usually he uses burlap) and I absolutely LOVE it.
You may also want to check out an earlier write-up I did of Marina for Preview's Creative IT List 2006. And click here to see the outstanding work she submitted in the Philip Morris Art Awards last year. I'm usually very hesitant about "declaring things" but her work at Philip Morris was, in my opinion, undoubtedly the best among the finalists.
In the exhibition Recollections, artist Marina Cruz-Garcia once again explores the theme of memory. She delves into poignant but jettisoned memories of her relations, recreating them on canvas with new and realized significance to deliver an intimate contribution in family history. Each piece retells a story through
The piece The Roots of the Ancestral Tree depicts the paternal grandmother of
Such a foreboding appearance or presence is only fitting knowing the immense weight of the grandmother’s position. While it is not an unusual role to be a mother,
Roots finds resonance in You Said We Will Sit Here When We’re Old. By a rocking chair is the faceless figure of a distant relative of
Loss also imbues The Nighttime of Our Day on Our Master’s Bedroom. The painting features
The fruit of the grandmother’s labor is seen in Twins’ Posing Pause which uses as source a photograph that candidly captures the then four to five-year old girls as they begin to wane in patience posing for the camera. Standing close to each other, they both awkwardly hold up one side of their fanciful dresses, spreading them like butterfly wings. The appearances of the twins and their dresses, which while not mirror images echo each other all the same, are resonated by
In Souvenir of Our Performance I and II, the twins are now in their 20s and, not having outgrown the penchant of dressing alike, wear identical pink shirts. They sit with each strumming a banduria, a folk music instrument, together with their guitar-playing music instructor. The photograph
I Used to Sit Here with My Dog is a rare work of
As one of the promising young artists that lights away a brighter future of Philippine contemporary art, Marina Cruz-Garcia is singularly motivated by the past. The search for her lolo’s gift continues but, while it may not yield the actual present of her grandfather, it bears in abundance the fruits in the artworks and exhibitions she produces along the way.