72

 

Barnis

Mukhang barnis na mahogany 

‘yung dugo sa senakulo at Via Crucis, 

pero cornstarch ‘yan at food coloring, 

para kang nagluto ng pandikit 

 pero sinasangkap maging dahon ng Biblia 

 at itong pang-araw-araw nating isip, 

salita at gawa, sali na rin ang balat 

 nitong mga gumaganap 

na kinakagat-kagat ng burillo 

kahit pa medyo ginigilid ng mga centuriones 

ang kanilang mga palo sa kahoy ng krus

 at sa hump sa aspalto, kung gayon, 

may totoo nang dugo sa timpla 

ng props, may tsismis kung sino 

sa aming kumpulan ang labis kung lumuhod, 

sino ang pabaya, kanino ang pagmamalaki ng 

hoy a, nagbuhat na ako last year, 

 nag-abot na kami kahapon,

 wala ka sa fasting ng lolo ko, 

sino ‘yang nakapaa, balita ko nanalbahe, teka 

kanino ba itong naka-sleeveless na AFAM, ang totoo? 

Nilalagyan ko ng suka ang pandikit 

 upang magtagal at hindi amagin

 ngunit kaunti lang kasi ayokong mangamoy-asim, 

ayan, binitawan na ang Nauuhaw ako, 

ayan na ang kamao ng basahan, sa dulo 

ng paminaw ng sinampay, 

isinawsaw sa galon ng suka, 

 halos isuksok na sa duguang mukha, bibig, 

kay Malou ba ‘yan hindi naman mukhang kano 

sabihin mo tanggalin ang shorpet, 

sa Pilipinas lang nakatikim ng simbahan? 

Food coloring ba ito kuya? 

Wala kaming makuha e, puros dyobus. 

Iwas-iwas na lang mahampas sa mata.

𝐋𝐔𝐋𝐀𝐍, 𝐔𝐋𝐈𝐋𝐀, 𝐋𝐈𝐇𝐀𝐌, 𝐀𝐋𝐀𝐆𝐀, 𝐍𝐀𝐌𝐀𝐍

Two millennia ago, the first sator square was discovered in the ruins of Pompeii, among pumice and volcanic ash. Since then, many other excavations revealed these same Latin words—SATOR, AREPO, TENET, OPERA, ROTAS—engraved on doorknobs and wall fragments, etched on boxes, and even skulls. From the debates, we learn that perhaps the cryptogram had magical or incantatory properties, that it functioned as a mystical lock.

Likewise, 𝐋𝐔𝐋𝐀𝐍, 𝐔𝐋𝐈𝐋𝐀, 𝐋𝐈𝐇𝐀𝐌, 𝐀𝐋𝐀𝐆𝐀, 𝐍𝐀𝐌𝐀𝐍 mark our claims to home. In this collaborative project, each artist receives a sator-type square based on keywords that they use to personally represent the locale of their birth, their dwelling, and their artistic practice (while suppressing specific information). Released, our creations move porously between text (the grid) and art (the visual forms). We unlock place and memory in this manner: gathering letters to unleash images, meeting in symbol to step out into the light of day.​

Exhibit opens this March 7, 2024 at Gallery One of the UP Fine Arts Gallery.

​March 7 | 2 PM | Artist Talk

March 7 | 4 PM | Exhibit Opening

​FREE AND OPEN TO THE PUBLIC

​Walk-in guests are warmly welcome from Tuesdays to Saturdays, 9 AM - 4 PM. For bookings, visit bit.ly/ParolaVisitorsForm or email us at cfagallery.upd@up.edu.ph​

See you!

ATAS

PANYO

Sand queue

Who wants 

 seconds 

 enough to chew, swallow

 enough for a message 

 

“under plaster”

  for a dance

 for dancing over their 

 

overhead for taking pictures

 overhead to take their

 opposite 

the helpings

In BLACK & WHITE HAIGA/HAISHA