PAIR 7
Jade Cabauatan & EMV Limbaga
Artist
Jade Alfonso Cabauatan is an artist, art educator, and mother. She completed her Fine Arts degree at the University of the Philippines Diliman, majoring in Painting/Studio Arts. Currently, she serves as the Arts and Design Track coordinator at La Salle College Antipolo. Jade has a diverse background in the arts, including experience in graphic design, freelance projects, and participation in numerous exhibitions.
While she has explored various facets of the art world, Jade's true passion lies in teaching. This role keeps her grounded and provides a continual source of learning and self-reflection, allowing her to stay connected with the knowledge acquired during her academic years and remain abreast of current trends in the arts scene.
As both an artist and educator, Jade possesses a well-rounded perspective on the world of art. Her experiences in teaching and engaging with students influence her personal artistic practice and serve as a wellspring of inspiration. She is dedicated to nurturing creativity in her students, encouraging them to explore and embrace their own artistic potential.
In her art practice, Jade's themes and inspirations center around the everyday experiences of the working class, of which she considers herself a part. While her earlier works were socially relevant, her recent focus involves capturing the emotions and stress she personally feels as a commuter through painting. This evolution reflects her commitment to authentic self-expression and a desire to connect with others on a deeper, shared level.
Art Critic
EMV Limbaga is a BA Art Studies major with a concentration in Art History at the University of the Philippines Diliman. She writes film and music reviews in her Notes app with the intention of compiling them into a zine or a book someday. She also writes poetry, mostly about lost love, dead relatives and pets, and commuting, and has been published in harana poetry. When she isn’t writing in the dark corner of her living room in Las Piñas, Evgenia spends her time catching up on her watch list, making playlists, and cooking for loved ones. Her favorite food to cook is spaghetti.
Stage 0
Conceptualization, Portfolio Review, & Artist Interview
The artist provides a brief description of the concept they intend to explore or develop for Confluence.
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Notes on initial concept
Written by Jade Cabauatan
The hassle of the street life - commuting, the lights, basically the everyday experience that frustrates me that other people also experience. These past few years, I have been interested in painting scenes from my daily struggle in commuting. I am always amazed by the colors, strokes, and subjects of impressionists. I admire the honesty that I see in their works. How their subject, strokes, colors, and compositions affect the viewer's emotions. It’s something more than the eye can see. I think in a way that’s how I communicate to the viewers who can relate to my paintings that we are in the same boat. Those experiences are frustrating for me, but I feel like I have no choice, but then I also know that there are people who experience the same. My subject matter would be random things that I see around me. I am not a photographer, but sometimes I would just like to take pictures of things that caught my eye and then use them as my references when I paint. Usually, they are scenes from my 2-4 hours struggle on the street, in the jeep, or commuting in general. I usually do oil painting which I believe is my comfort zone and my other love is printmaking. Before I paint, sometimes I think of the technicalities like how I should use the oil paint, what medium to add, and how much medium to add. However, when I start painting I usually end up just going with the flow. I am a very impatient artist and I sometimes want to finish a work as fast as possible. Alaprima may be the best name to describe the technique. However, I sometimes would be doing retouches or a second layer if I am not satisfied with the alaprima and would resort to dry brush and impasto. Like a day or a week for a painting.
Maybe the frustration with everything around me that I want to change but I cannot. I was an activist for more than a decade and I used to believe that I could change things, and use my art to change the world. However, I just knew I couldn’t. After college and when I was done with my idealist stage, I just wanted to be honest with myself and paint whatever I wanted. Whether it's on the street or in a crowded jeep during my daily commute, I take quick snapshots that become the inspiration for my paintings. I'm not a photographer, but I love capturing everyday scenes around me. I like using oil paints because they feel familiar and comforting. Before I start a painting, I think about things like how to use the paint and what other stuff to mix in. But honestly, I'm not very patient. Most of the time, I end up going with the flow and letting the painting take its own course. The hassle of street life—the commuting, the lights, and the everyday experience that frustrates me—turns into a visual diary on my canvas. Every stroke reflects the energy and randomness of my daily journey. I might have a rough plan, but my gut feeling guides me, and the painting changes as I work on it. It's like a spontaneous dance on the canvas, capturing real feelings and moments.
Even though I'm in a hurry to finish, I don't mind going back and fixing things. It might take a day or even a week. I might touch up some parts or add more paint using techniques like dry brush and impasto to give the painting more texture. My paintings tell stories about the beauty hidden in ordinary things. Each one shows a mix of spontaneity and careful work, sharing not just what I see around me, but also my journey as an artist. I hope people looking at my art can find joy in the simple things we often overlook in our busy lives. If you've ever felt frustrated by similar experiences, my art is a reminder that you're not alone. We're in the same boat, navigating through life's shared challenges and finding beauty in the midst of it all.
The art critic collects information by reviewing portfolios and conducting artist interviews, which they subsequently use to formulate an initial assessment of the artist's artwork and creative process.
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About Jade Cabauatan
Written by EMV Limbaga
In every stroke of art, a political essence pervades, for the personal is inherently political. Upon encountering Jade's portfolio shortly after the pairings were revealed, vivid images of the Philippines' challenging commuting system flooded my thoughts. Our initial meeting unveiled Jade's enduring daily commute, a ritual since she commenced work in 2017.
Jade wields oil as her primary medium. Her artistic finesse, marked by soft strokes and bold paint applications, mirrors the vibrant Impressionist palettes, resonating with the hues of her Bulacan roots. As a champion of authentic expression, Jade advocates for art conceived without the burden of overthinking, akin to capturing fleeting moments during her spontaneous painting process.
Her method involves capturing intriguing subjects through photographs, yet it is the intricate thought process behind her work that captivated me. A former student activist, Jade grappled with the societal relevance of her art, challenging the notion that art in the Philippines does not contribute to societal issues. Her post-graduate artistic journey emerged from an authentic need for self-expression.
In a departure from her usual themes, Jade envisions a series depicting the erosive impact of flooding on her hometown of Hagonoy, Bulacan, specifically the visible erosion of house gates due to floodwaters. While she aims to detach from overt political themes, Jade's art invariably carries political undertones, a testament to the inextricable link between personal experiences and the political landscape. Ironically, she believes the most sincere art arises without overthinking—as her art echoes the weariness, monotony, and liminality of Philippine commuting effortlessly.
Stage 1
Study Work & Work-in-Progress (WIP) Analysis
The artist translates their written concept from Stage 0 into a tangible form and provides a brief artist statement elucidating the work. This stage functions as a research or study phase, focusing on the execution and development of both the form and content of their concept.
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The art critic examines the transitional phases of an artist's production, exploring how the artwork and the artist's practice evolve during the creative process.
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Stage 1 Artwork
Trip to Jerusalem
Jade Cabautan
Oil on canvas
12"x12"
Artist Statement:
Trip to Jerusalem captures the relentless pulse of public transport in the Metro, cleverly alluding to the eponymous game where passengers engage in a frenetic race for seats as the music stops. In this narrative, the circular arrangement of the characters surrounding a lone transport seat becomes a metaphorical arena, symbolizing the scarcity of the available public transportation for the multitude of commuters and the perpetual contest for a coveted spot. The characters however, rather than fixating on the goal at hand, are each projecting an aura of introspection, encapsulating the anxieties inherent in the daily commute.
Through subdued tones and expressive postures, the artwork delves into the internal struggles of each passenger, creating a visual symphony of shared solitude amidst the external chaos.
In this piece, I invite viewers to contemplate on the shared narratives and unspoken dynamics woven into the fabric of communal transit experiences in the vibrant tapestry of city life.
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Stage 1 Text
Work-in-Progress (WIP) Analysis of Trip to Jerusalem
Written by EMV Limbaga
"Trip to Jerusalem" is a familiar game at kids' parties. Participants circle chairs to music, scrambling for a seat when the music stops. Each round, one chair is removed until only one player remains seated.
For Jade, commuting in the Philippines mirrors this game. Weary commuters vie for an empty seat—a small taste of heaven amidst chaos.
The composition of the piece, though uncertain, depicts a circle of commuters, with a bus seat at its center. Jade’s decision to utilize a square canvas perfectly frames the subjects, as if they are contained in the space they are in. However, the charm of the painting diminishes somewhat due to the artist’s portrayal of the bus seat, which bears a resemblance to a gaming chair. Despite being in its early stages, the artist's intention is clear: to evoke the frustration and anxiety a commuter feels when spotting an unoccupied seat.
Three elements highlight this intention:
1. The various reactions of the subjects reflect different commuting attitudes—nonchalance, panic, fixation on relief (the empty seat), boredom, and distress. Even faceless, their body language conveys these emotions, sourced from images of real commuters.
2. The background, fiery red and orange, symbolizes hell—the common perception of commuting in the Philippines. The absence of the Devil heightens this impression.
3. A detail worth noting is the expression of the man in the pale yellow shirt. Initially ambiguous, it becomes familiar—a look of annoyance when asked common commuting questions, like where the end of the line is or what jeep or bus they are lining up for. This detail enhances the artwork's narrative, spotlighting a universal experience for Filipino commuters.
Despite demanding jobs and tight schedules, Jade and I find inspiration in our daily commutes, reflecting on our project's outputs amid the havoc. While others see stress, we find creativity in the madness. An empty bus seat will never look the same again.
Stage 2
Study Execution & Review of Related Works or Literature
Study Execution & Review of Related Works or Literature
The artist will refine the artwork based on insights gained during Stage 1 deliberation and production. Their partner will offer relevant literature or artwork to support the enhancement of both the form and content of the piece.
The art critic persists in examining the artist's creative process and decision-making. Moreover, they seek out relevant literature or artwork that can enhance the development of their counterpart's work.
Stage 2 Artwork
God Bless Our Trip to Jerusalem
Jade Cabauatan
Oil on canvas
16"x20"
Artist Statement:
I am determined to continue exploring the "Trip to Jerusalem" theme in my artwork, especially considering the commuting challenges faced by both myself and Jia while working in the city. In this piece, I've incorporated various suggestions from previous discussions, with a particular focus on using composition and perspective to drive the narrative. I opted for oil on canvas again and experimented with a fish-eye perspective to create a circular illusion that echoes the game "Trip to Jerusalem." The background features people waiting for their turn to be seated, while the other side represents the chaotic traffic, adding layers to the story. In this piece, I deliberately avoided bright colors and instead stuck to a triadic harmony of raw sienna, crimson red, and ultramarine blue. I aimed for a more neutral overall tone, although the colors ended up slightly darker than primary shades, adding depth and mood to the piece. I allowed myself to go with the flow and explore where the creative process would take me. It was challenging for me since I am used to using reference. I'm excited to see how everything evolves as I delve deeper into this narrative.
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Stage 2 Text
Work-in-Progress (WIP) Analysis with Review of Related Work or Literature of God Bless Our Trip to Jerusalem
Written by EMV Limbaga
"Trip to Jerusalem" is a game wherein players aim to find a seat before the music ends, with one seat remaining vacant after each round. Until just one victor is left, the person without a seat is eliminated. To Jade, the Philippine commuting system is akin to this game, with vacant seats becoming smaller and smaller after each round, and players (the commuters) scooch their legs together as tight as they can for the sake of giving others a little taste of heaven in the form of an empty seat. The music, often in budots style, however, is endless, and players don't have to wait for it to stop to sit down. And there is no victor, as commuting in the country is perceived to be a game we all eventually partake and lose in.
The painting depicts a scene most Filipinos are familiar with: a person weaves their way through the narrow aisle of a crowded jeep and spots a slither of space—a vacant seat, highlighted in bright yellow. The muted colors emphasize the brightness of the seat, and work well with the rest of the color palette. The subjects, lacking in fine detail, are reduced to faceless strangers, which is the case when a person is focused on their goal of securing a spot in public transportation during rush hour. The other people featured outside the jeep look like the souls of the damned, waiting for their chance to cross the River Styx on their chosen vessel.
What is fascinating to me about this painting is its utilization of the fisheye perspective. A unique angle, the fisheye perspective is a technique used by artists for a variety of purposes, most commonly to accomplish particular visual effects or to portray certain feelings or ideas, much like a scene in a Yorgos Lanthimos film. This angle highlights the crowdedness inside the jeep, exaggerating the proportions of the seated subjects and the person traversing towards the empty seat. A feeling of unease also looms over the work, not just because of the perspective used but also because the painting draws you into its world—an unfortunate reality Filipinos deal with every day.
While the artist's choice of muted colors contributes to a subtle and understated aesthetic, it may not fully capture attention or make the painting stand out prominently. It might take the viewer a while to notice the empty seat rendered in yellow. Realistically, jeepney seats are usually red, and employing the color red for the empty seat could catch the eye of the viewer immediately.
The use of space in this painting contributes to the feeling of claustrophobia, with each passenger squeezing one another and the slither of space reserved for the lucky individual holding on to the rail on the ceiling of the jeep.
In the previous stage, Jade's interpretation of Trip to Jerusalem seemed to be too on the nose. Whereas in this work-in-progress, together with this text describing her concept, a confluence of ideas is made wherein all the viewer has to do is read, look at the work, and take it all in.
To me, I think the painting has done a splendid job in allowing its viewers to feel what they want to feel when looking at it. It has no sense of intimidation, no "ivory tower stain," and no inconsistencies—it is honest and straightforward, the artist has a deep knowledge of what she is painting about, and it is visually and narratively cohesive. Additionally, the piece—an already empathic take on the Philippine commuting system—also invites empathy from the viewer through its effortless depiction of a familiar scene.
In his essay Embodied Aesthetics, Evocative Art Criticism: Aesthetically Based Research, Boyd White writes that empathy is perhaps the most important aspect of writing about art, especially in honoring an individual's ways of experiencing and making meaning out of an artwork. In this line of thinking, context triumphs over concept, with the art critic putting themselves in the shoes of the artist, but also allowing their own emotions and experiences to shine through the cracks. White, who also teaches art criticism to those who have no background in the arts, prefers his students to turn their critiques into evocative poetry over academic research. This way, the individuality of the art critic is captured.
Applying this essay to Jade's Trip to Jerusalem, I have crafted a poem, an evocative critique, as White calls it, to supplement this text.
God Bless Our Trip to Jerusalem
Rush hour sweat and anxious breaths,
all in the name of not being late. Squeezing
through the aisle, bodies shift in tiny movements—
a seat, better than nothing. God Bless Our Trip
to Jerusalem. Faceless strangers heading somewhere,
muted and tired. Outside, the poor souls wait
for their turn to sit down uncomfortably.
The fisheye lens, a portal to a reality of early
morning panic, budots music, and sticky arms. God
Bless Our Trip to Jerusalem. This painting,
a revelation, free from the taint of ivory tower
artistry, no inconsistencies mar its truth. A testament
to the artist's insight and the unadulterated honesty
of lived moments. God Bless
Our Trip to Jerusalem.
References:
White, Boyd. “Embodied Aesthetics, Evocative Art Criticism: Aesthetically Based Research.” Studies in Art Education, vol. 52, no. 2, 2011, pp. 142–54.
Stage 3