Provenance: Boston Gallery, Quezon City

ABOUT THE WORK

According to Emmanuel Garibay, Mag-Ina sa Duyan forms part of his early works; he painted the piece at some time during the early to mid-1990s. During that time, Garibay was a member of the Salingpusa Group. The Salingpusa counted among its original members Garibay, Elmer Borlongan, Jose John Santos III, Mark Justiniani, Antonio Leano, and Ferdie Montemayor, now stars in the contemporary Philippine art scene. An artists' collective that emerged in the years leading to the People Power Revolution of 1986, the Salingpusa was committed to creating art that resonates with the current social, political, and economic conditions of the Filipino nation. In the early 1990s, the Salingpusa, who had bonded in the name of art at Hinulugang Taktak in Antipolo and held weekend painting sessions, crossed paths with physician and art connoisseur Dr. Joven Cuanang, who invited them to the vast Silangan Gardens (now home to the Pinto Art Museum) of his weekend house in Antipolo for drawing sessions. Learning of their (financial) struggles as young artists, Dr. Cuanang then began organizing exhibitions of their works, known as the "sampayan," in which the Salingpusa artists would hang their paintings on clotheslines strung within the gardens for the physician's art-loving friends to choose from, helping the Salingpusa artists in gaining ground and forging their own paths. In a correspondence with Leon Gallery, Garibay says that the work at hand formed part of one of Dr. Cuanang's shows at the Silangan Gardens. Although he could not remember the name of the show anymore, it could be one of those "sampayan" exhibitions in the 90s. It brings us back to Garibay's budding years as an artist and how those dawning skies gradually brought him to the forefront of the Philippine art scene through his powerful visual storytelling. Mag-Ina sa Duyan is palpable proof of Garibay's compelling abilities as a storyteller, even in the early phase of his career, in which a single composition evokes myriad expressions and thoughts. Garibay depicts in the work at hand a heartwarming image of a mother and child relishing each other's sweet, endearing company, bonding over what seems to be an afternoon siesta (nap). The two are lying on a rattan duyan (cradle), a commonplace sight in a traditional Filipino home, especially in the provinces. The young boy sleeps in tranquility, with his relaxed body showing a child's placidness and confidence in their mother's nurturing arms. The mother sings a gentle lullaby for her child, evoking the beloved Filipino lullaby Sa Ugoy ng Duyan (1948), whose lyrics were written by Levi Celerio and music composed by Lucio San Pedro; both are National Artists for Music. The overall darkness of the composition's background stands in powerful contrast with the touching subject: a mother's soothing language of unwavering and nourishing love transcends all odds. It is our sanctuary, a safe refuge from the inhumanity of humanity. In a work that sees the convergence of music and visual art, Garibay imbibes us with nostalgia and transports us into the halcyon days of our childhood, making us long for our mothers' warm embrace and her comforting lullaby that alleviated the physical pains of childhood play, brought us to a cozy sleep, and calmed our naïve tantrums and innocent meltdowns. That being so, duyan becomes an allegory for the blissful hours of yesteryear—nais kong matulog sa dating duyan ko, Inay. This is the power of Garibay's art— the compelling ability to touch the collective Filipino soul with unvarnished sincerity (Adrian Maranan