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
Context
The artist progresses from Stage 0 to Stage 2 with a deliberate focus on the context of their work. During this phase, they are encouraged to challenge the possibilities of their work, exploring new potential in material, medium, or form.
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The art critic touches into the broader context of the artist's work, exploring how external factors such as cultural, social, political, and historical influences shape the creation and interpretation of the piece. By examining the artist's environment, personal experiences, and the prevailing ideologies of the time, the critic uncovers deeper layers of meaning within the artwork. This analysis allows for a more comprehensive understanding of how the artist's intentions and the artwork’s reception are intertwined with the world around it, ultimately providing richer insights into its significance.
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Stage 3 Artwork
Trip to Jerusalem
Jade Cabauatan
Oil on Canvas
24" x 24"
Artist Statement:
In my third and final piece for Confluence, I returned to my usual process of selecting from random photos I took while commuting. Often when stuck in traffic or waiting for a ride home. This particular photo was captured as I waited for a bus in Balara. It was the last ride I needed to reach home. The usual chaos of waiting surrounded me. People running whenever a bus is coming and passengers are trying to get on the bus at any cost. I was one of those people, caught up in the same chaos.
Throughout my Commute series, my goal has always been to grab the audience's attention by portraying experiences that resonate with them while sharing my own experience. Scenes they could have encountered themselves everyday. But as I worked on this piece, I found myself reflecting, I realized that, in capturing these scenes, I wasn’t just sharing my own experience. I felt connected with the people in my painting, and somehow I feel like I wasn’t alone struggling. That this people have their own struggles too.
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Stage 3 Text
Work-in-Progress (WIP) Analysis with Contextual Analysis of Trip to Jerusalem
Written by EMV Limbaga
In every stroke of art, a political essence pervades, for the personal is inherently political. Jade Cabautan’s paintings are almost always about commuting—what it's like being a commuter in the Philippines, how inefficient and impractical the Philippine public transportation system is, and the many faces she crosses paths with on her way to and from work. To brave rush hour commute is an unspoken rite of passage for those living in the Metro, and in Jade’s pieces, she never fails to show the ugliness, stickiness, and sweatiness of commuting in the Philippines, whether she intends to or not.
It is mostly the latter. Most of the time, Jade paints to express herself. She wishes to show the world how she sees it, through her classic muted colors, dark shades, eloquent brushstrokes, and rush hour scenes. Jade’s personal scenes from commuting become a shared experience for those who view her paintings. The personal is political, yes, but to bare your own perspective on something so familiar and draining to many takes guts! It takes an ample amount of vulnerability to let someone see the world through your eyes. At the same time, opening oneself and relating the self to a specific art piece is also an act of vulnerability. Amidst the intractable political value in art, sheer vulnerability in an artist’s work is a surefire way to connect with their audience and their audience with them.
Jarett Earnest writes of this shared vulnerability in his article on Dave Hickey. According to Earnest, a special ingredient of Hickey’s writing is his familiarity of how experiencing art and writing about it is an act of intimacy within our shared aloneness.
Jade’s commute scenes are often inspired by actual scenes she witnessed firsthand, but this image has no gimmicks—no God’s eye/fish-eye lens, no seat in the middle of hell. Jade directly copied her reference photo for this work. According to her, by doing so, it helps her reflect on her experience. In fact, she finds it therapeutic and she feels that she is not alone in her struggles in commuting. Moreover, she knows that by painting such a familiar scene, her viewer will immediately recall instances where they were in the same situation. Through this shared vulnerability, a connection is easily established between the subject, the artist, and the viewer.
The scene depicts an incoherent queue waiting to board an already-full commuter bus. Hopefuls look upwards at the bus door, waiting if someone squeezes their way out, breathing “Sorry’s” and “Excuse me’s” under their breath. Some have their hands on their waists out of frustration and exhaustion, implying that this isn’t the first packed bus that has come their way. Onlookers witness the chaos that reeks of impatience and do not participate in it. To them, it is hopeless.
The colors used are colors that are commonly present in the artist’s work—mostly browns and yellows— adding a sense of familiarity and cohesion in the artist’s style. The bright yellow bus brings the viewer’s eye in, luring them to explore the inner chaos behind the windshield. Although no risks were taken in terms of the other formal qualities of this painting, the project behind it makes it stand out, especially in comparison to Jade’s two other pieces. A big risk for Jade, however, was to paint what she saw, almost akin to photorealism, but in her distinct grungy and polluted Manila Impressionist style.
In all honesty, the first thing that came to mind when Jade sent me a picture of this piece was the certainty behind the fact that I have seen this scene before. In fact, I see this scene almost every night when I am on my way home from work. This sense of familiarity instantly formed a bond between me and both the piece and the artist. A tinge of validation immediately followed, as I stared at the image of the painting on my phone longer and relived the exhaustion I felt the night before. I felt as if my exhaustion is validated because I am not the only one who experiences the same struggle of wanting to go home after a long day at work.
Jade has accomplished her goal. By painting such a familiarly dreadful scene, her audience finds it easy to relate to her work. At the same time, she also directly relates to her work. Unlike her previous pieces for Confluence, she felt less restricted while conceptualizing and painting this piece. In her words, she was trying to be spontaneous, perhaps, a little too gimmicky. Whereas in this piece, she feels like she has more freedom to express herself through colors and brushstrokes. Quite ironic, if I say so myself, that Jade feels more creative freedom while copying exactly what is in her reference photo. Through this, it can be gleaned that Jade’s artistry relies on realism and precision. She, as an artist, values the clarity and authenticity that comes from closely observing the world around her. This approach reveals a focus on craftsmanship and a preference for capturing the essence and individuality of her subjects.
With this painting, the artist presents a longstanding headache felt by commuters in the Philippines. It simply highlights the inefficiency of the country’s commuting system and a culture of being complacent with familiar discomfort while those in power effortlessly speed through traffic in their private cars and entourages. Even though Jade insists that her work is merely an expression of scenes she witnesses on the daily, its politicality shines through with so much ease and subtlety.
Commuters waiting to board a bus during rush hour is a typical scene for regular Filipinos living within Metro Manila. Another strength this painting has is its depiction of something mundane. But therein lies the power of the mundane: it is straightforward in what it wants to say, it is familiar as it is what we experience as commuters, and it is easier to connect with others, especially with Filipino commuters.
Jade Cabautan’s artistry combines the ordinary hardships of commuting in the Philippines into strong, accessible narratives that engage deeply with her audience. She invites people to recognize themselves mirrored in her art as she skillfully depicts the chaotic essence of Philippine commuter life with an exacting commitment to realism. The willingness to admit to vulnerability strengthens the bond between artist and audience and discreetly draws attention to the shortcomings of the country's public transit system. In addition to validating the common weariness of commuters, Jade's honest and nuanced portrayal of these everyday scenarios invites us to consider the larger political implications of our lives and gives us hope for a brighter future beyond rush hour.
Here is my final evocative critique for Jade’s art.
Beyond the Next Bus
In the bustling dance of rush hour,
the artist finds her canvas—
the chaos of commuters,
a living portrait of sweat and shared sighs.
She captures the sticky reality,
the queue of hopefuls gazing skyward,
each face a story, each share
a struggle. Muted tones speak louder
than the clamor, a muted yell
at a system stuck in gridlock,
where the mundane becomes a manifesto.
Painting what she sees, Jade spins
familiarity into tenderness, an invitation
to witness the ordinary, to find our own weariness
in others. With every brushstroke, the personal
intertwines with the political—
a mirror to the things we endure,
reminding us that within the mundane,
connection thrives, as a glint of hope
awaits beyond the next bus.
Works Cited
“The inside Outsider: On Dave Hickey’s Criticism.” Los Angeles Review of Books, June 6, 2016. https://lareviewofbooks.org/article/the-inside-outsider-on-dave-hickeys-criticism/.