Rodel Tapaya

List of Works and Selected Descriptions

MC_CS6_RZ_150116_DIS_RT_Insert_215x265_NEU.indd 1 16.01.15 15:36 Rodel Tapaya in his studio in Bulacan, Philippines, 2014; photo: Marina Cruz

MC_CS6_RZ_150116_DIS_RT_Insert_215x265_NEU.indd 2 16.01.15 15:36 MC_CS6_RZ_150116_DIS_RT_Insert_215x265_NEU.indd 3 16.01.15 15:36 encounter each other, on separate rock → Cover → p. 14 Refreshing Fluid (crop), 2014 formations, and the river is presented Door to Door, 2014 Acrylic on canvas as far more than a placid body, with Acrylic on paper 213 × 152 cm its spirit hidden beneath its surface. 77 × 57 cm Private Collection, Philippines Private Collection, Berlin In this magically bewildering environ- Refreshing Fluid takes on the peren- ment, the all too mortal hunter has to This work depicts a scene of a fish nial issue of drought. It draws from cling to an object, its charm fueled by vendor. On a personal note, my family’s­ the Bagobo tale of a couple called his belief. ZMDR business is producing smoked fish, Toglai and Toglibon; after their death which vendors buy and sell around the a great drought came upon their land, → p. 5 village. RT lasting three years and forcing their The Magic Show of the Haciendero ­Magician, 2007 Acrylic on burlap children to move to various locations 122 × 91 cm → p. 15 and eventually become the pioneers of Private Collection The Disguise, 2014 present-day groups in Mindanao. One Acrylic on paper 77 × 57 cm of the children, on the verge of death, → p. 6 Private Collection, Philippines discovered water in sugarcane, and set- Kinakawowowee II, 2007 tled in a region that was plentiful of it; Acrylic on burlap The Disguise presents hunters who 152 × 183 cm his descendants were the Bagobo (the Private Collection camouflage themselves as animals in first ethnic group in Mindanao). In this order to pass unnoticed, ensuring a work we see the anatomy and effects successful hunt. It has often been said → p. 12 of drought, with water taken to propel Meeting with Self, 2014 that much can be learned from nature, electric powerplants supplying the big Acrylic on paper and being in it affords us insight and 77 × 57 cm well-being that is becoming harder to cities, while none is left for the lumad Private Collection or indigenous peoples. The image of come by in our increasingly urbanized the sugarcane embodies suffering, as it lives. In this respect, the painting can calls to mind the haciendas and azucar- → p. 13 be interpreted as exposing the human Crossing Over, 2014 eras or sugar factories, where farmers Acrylic on paper race’s failure to grasp the idea of being toil for very little pay. This collision 77 × 57 cm in harmony with nature, rather opting 4 Private Collection of past and present crises results in a to work against it and exploiting it. ZMDR powerfully visual and well-considered In many of Tapaya’s works, familiar social commentary that does not resort images or tropes are given new dimen- → p. 16 to literal sensationalism. ZMDR Dinner with Forest God, 2014 sions and depth of meaning. Crossing Acrylic on paper Over is one example—a person rides 77 × 57 cm Private Collection → p. 2 on the back of another, signifying a Protection in the Forest, 2013 rescue. Thick gray cords framing the Acrylic on canvas, framed with engraved tin sheet image of the rescuer and the rescued → p. 17 166 × 137 cm Lift, 2014 Private Collection, Berlin further reinforce this interpretation; Acrylic on paper the dark areas in the foreground of the 77 × 57 cm The shape of Protection in the Forest painting can be seen as a representa- Private Collection, Berlin resembles the shape of an agimat (tal- tion of a river that has to be crossed isman) used by ­people for protection. (which in turn is a metaphor for any → p. 18 Some would even claim that their crisis or adversary that has to be over- The Two Wolves Inside, 2014 agimat makes them immune to pos- come). On the other hand, the scene Acrylic on paper 77 × 57 cm sible injuries from bullets and knives, can also be considered a new take on Private Collection, Philippines thus rendering them invincible and the narrative of death, as was perhaps perhaps even immortal. In the paint- first expressed in the Philippine ma- I remember quite early on reading this ing, an apprehensive-looking hunter is nunggul jar which depicts a boatman story about a grandson and a grand- making his way through the forest, rifle accompanying a dead person across father talking. The grandfather said, in hand. He is surrounded by forces a river to the afterlife, so that even in “My son, there is a battle between two both bestial and otherworldly. An eagle death a person is not completely alone. wolves inside us all. One is evil. It is (perhaps the prey he is hunting) is in And Tapaya gives this a warmer aspect anger, jealousy, greed, resentment, turn protected by the forest, which by expressing this rescue or com- inferiority, lies, and ego. The other is camouflages the bird: its body melds panionship through the uncertain in good. It is joy, peace, love, hope, humil- with root, smoke, water, and earth terms of physical contact, the figures ity, kindness, empathy and truth.” The symbolized by arch and pillar. The themselves being melded into each child asked, “Which wolf wins?” The same goes for the formidable lion and other while making the journey across old man quietly replied, “The one you leopard. At the bottom, man and beast a river, towards death. ZMDR feed.” RT

MC_CS6_RZ_150116_DIS_RT_Insert_215x265_NEU.indd 4 16.01.15 15:36 the forest hear a shout when there is no This triptych refers to a Bukidnon → p. 19 The Lector, 2014 one in their company who could have creation myth in which the inter­ Acrylic on paper made such a sound, they postpone their dependence of three ­celestial beings 77 × 57 cm hunt and leave the animals alone, fear- gives rise to the known universe. In the Private Collection, Philippines ing they will be punished by the fairy middle panel, the Mediator, a winged The Lector prompts one to muse on the and Dangkaw. ZMDR ­creature, holds the ring in which are possibility and power of words. The contained the ­Supreme Planner and work depicts a lector reading passages → p. 24 the Ten Headed Creature; it also serves from a book; the faint figure behind Outpouring, 2014 as an arbiter between the two. The Acrylic on canvas Supreme Planner sets out to create the him seated in a chair, from which var- 183 × 122 cm ious lines emanate, can be seen as an Private Collection, Hong Kong world with the help of the Ten Headed extension of the lector imagining the Creature, who possesses the means Because of the massive damage caused prophetic power of his words upon his to carry out the Supreme Planner’s by Typhoon Haiyan, many of those in listeners. His uncomfortable stance on vision. In the right and left panels, the Visayan region, in the center of the the stage expresses the presence of fear the celestial beings are repeated, ac- Philippines, were left homeless and and insecurity in the face of the pros- centuating the importance of their starving. With help from both fellow pect of great power, his alter ego in the presences by and with each other, and countrymen and others around the background appearing tense (with both suggesting that without their mutual globe, they were able to rebuild their arms across the chest) and seemingly help, nothing can be fully realized. On lives. Outpouring reflects on this lend- frustrated that the lector is not rising to a more practical note, cooperation, ing of a helping hand by echoing a myth the occasion. This is an expression of an interdependence, and collaboration of the northern Bontoc­ tribe about a existential crisis which unfortunately are crucial, from the home to the com- great flood caused by many days of prevails among many people from the munity to the workplace, and every ceaseless rain. Two groups of people, artist’s country, in which potential re- person is important for the success of or two tribes, were able to survive the mains only that and is never realized, another. ZMDR disaster. But because it took some time and possibly meaningful roles disap- for the flood to subside, one tribe al- pear, unfulfilled.ZMDR most perished from the cold on the top → pp. 28/29 Fragrance and Harmony, 2014 5 of a mountain. The second tribe, lo- Acrylic on canvas → p. 20 cated on another mountaintop, helped 244 × 335 cm Goddess of the Forest, 2014 Private Collection, Switzerland Acrylic on paper them: they sent a dog that swam across 77 × 57 cm the floodwater and brought fire to the This work is about war. I particularly Hotel Luna Museum Collection, Vigan City, Philippines first tribe, thus enabling them to survive like the lyrics of a Filipino folksong the cold. RT that says, “if your enemy doesn’t have → p. 21 The Idiot Box, 2014 heart, you should use your heart in- Acrylic on paper → p. 25 stead; you need to treat him like a The Heirloom, 2014 77 × 57 cm friend and think that he also has a Private Collection Acrylic on canvas 213 × 152 cm heart like you.” The white flowers rep- Private Collection resent the hope for peace. This work → p. 23 Forest Spirit, 2014 The inspiration comes from an Ibanag doesn’t pertain to any particular folk- Acrylic on canvas folktale about a magic medallion tale or story, but is my interpretation 152 × 122 cm of the Historic Peace Agreement of the Collection Linda O. Coscolluela, Philippines that gives the young boy Juan and his mother a fortune. Already a poor Mindanao people and the Philippine Forest Spirit depicts a world that is family, when the father dies the only Government, which grants largely both fleeting and older than, or beyond, thing that is left to them is the bolo, Muslim areas of the ­Mindanao region words. It refers to the tale of a skilled which Juan uses to cut down trees. On greater political autonomy in ex- hunter named Dangkaw who falls un- one such tree, a medallion appeared change for an end to armed rebellion. der the wrath of the fairy guarding the inside the trunk. When this was re- This is a victory for Muslim people, forest and the animals in it, because of moved a strange-looking man, like a for it ended four decades of the arms the constant disturbances caused by his genie, appeared and granted all Juan’s struggle in the Mindanao region, in hunts. The fairy condemns him to re- wishes. RT the southern part of the Philippines. main in the forest, away from his family Earlier attempts at establishing peace and the world he knew. Eventually hadn’t worked. But this time, this is the → pp. 26/27 Dangkaw marries the fairy and, along The First Beings: The Ten Headed Creature, closest to peace we’ve so far achieved with his new wife, becomes the guard- The Mediator and The Supreme Planner, 2014 amongst our Muslim brothers and sis- Acrylic on canvas ian spirit of the forest and its inhabi- Triptych, 213 × 152 cm each ters, and hopefully our people will live tants. The story has it that if hunters in Deutsche Bank Collection in harmony with each other. RT

MC_CS6_RZ_150116_DIS_RT_Insert_215x265_NEU.indd 5 16.01.15 15:36 represented as tiny seeds, which people the rat saw this, he gnawed through the → pp. 30/31 Armor, 2014 can grab and then grow. The eagle-boy rope and set the lion free to repay his Acrylic on canvas holds one himself, and it appears that old debt. ZMDR 244 × 335 cm only a few from his community are in- Private Collection, Switzerland terested in or even notice these small → pp. 38/39 This is inspired by a folktale from seeds of opportunity. On the right-hand The Carabao and the Snail, 2014 side of the painting, a bat preys on rot- Acrylic on acrylic sheet, reverse painting under-glass ­Pampanga in the Northern part of 51 × 81 × 5 cm ­Luzon (Philippines). The main figures, ten fruit; beneath it a hamster runs its Private Collection Juan and Maria, are siblings. When endless course on a wheel, unaware that they were still young their father forced it is going nowhere, and a man watches One very hot day, when the carabao them to leave home because he was too television, his mind hollowed out and went to the river to bathe, he met a poor to feed them. As they wandered then fed with a petty coin. Ultimately, shell and they began talking. “You are about in the countryside, they encoun- it is people’s mindsets that determine very slow,” said the carabao to the shell. tered a deer that (somewhat strangely) their destiny and there is always the “Oh, no,” replied the shell. “I can beat advised them to eat it. Inside the deer’s possibility that even a person from the you in a race.” “Then let us try and see,” body Juan found a suit of armor, and poorest and darkest slums can have said the carabao. So they went out on Maria found an egg. They took these a chance at rebirth, and change even the bank and started to run. After the possessions with them and continued when the odds are against it. ZMDR carabao had gone a long distance he on their journey, eventually coming stopped and called, “Shell!” And an- other shell lying by the river answered, across a house where an old lady took → p. 35 them in and brought them up as her The Caretaker, 2014 “Here I am!” Then the carabao, thinking Acrylic on canvas that it was the same shell with which he own children. One day there was a 152 × 122 cm tournament hosted by the king. The Private Collection, New York, USA was racing, ran on. By and by he stopped winner of the contest was to become and called, “Shell!” Again another shell the husband of the princess, and would The Caretaker refers to a Filipino answered, “Here I am!” The carabao inherit the throne. Juan fought in the ­creation myth revolving around was surprised that the shell could keep competition, using his armor, and de- the supreme gods Bathala, Galang up with him. But he ran on and on, and feated all his opponents. Maria’s lucky ­Kaluluwa (Wandering ­Spirit), and every time he stopped to call out, an- 6 egg hatched; the rooster grew and was ­Ulilang Kalulawa (Orphaned Spirit).­ other shell answered him. He was de- entered in a cockfight, which won her ­After Galang Kaluluwa, who had termined that the shell should not beat a fortune. Later, she married a prince killed ­Ulilang ­Kalulawa in a battle, him, so he ran until he dropped dead. RT and eventually became queen. RT died, a coconut tree sprouted on his grave. Its nut reminded Bathala of → pp. 40/41 The Origin of Bul’ul, 2013 → pp. 32/33 Galang Kaluluwa’s­ head and its leaves Acrylic on canvas Eagle’s Rebirth, 2014 of his wings. Bathala also noticed that 183 × 244 cm Acrylic on canvas the trunk of the tree was hard and ugly Private Collection 244 × 335 cm SEACO Collection like the body of Galang Kaluluwa’s enemy, Ulilang Kaluluwa. The tree The Origin of Bul’ul is a reference to Eagle’s Rebirth is about the possibilities became the tree of life for the humans the legend of the origins of the rice of hope and the chance to change. In a whom Bathala­ had created thereafter; granary guardian. The main figure rather whimsical story, it has been said its water and white meat served as Humidhid, a deity living in Daiya (in that an eagle has a lifespan of seventy ­nourishment, and its leaves and trunk the Ifugao Upstream Region), heard years, but that by the age of forty it has were used for making­ a variety of tools and was moved by the wailing and to undergo a long and painful regen- and for building­ houses.­ RT crying of a large narra tree near his eration process. It must retreat to the house. He asked the tree what could mountaintops to knock off and regrow be done to help it: whether it wanted → pp. 36/37 its beak, must pull out and regrow its The Lion and the Rat, 2014 to be carved into a prestigious lounge talons, and finally pluck off and regrow Acrylic on acrylic sheet, reverse painting under-glass bench (hagabi), or a serpent-shaped 51 × 81 × 5 cm its feathers. This process affords the Kirk and Joanne Young Collection house post (balog) or some other fig- eagle another thirty years of life. In the ure. The tree replied that it wanted to painting, a boy who has grown up in A rat caught stealing rice was thrown be transformed into a bul’ul (the repre- the slums is on his way to becoming into a ­lion’s den. The lion wanted to sentation of a human body). Humidhid an eagle, which signifies the chances eat him up, but the rat asked the lion made several but realized that they he can take: to escape a life of poverty to spare his life and promised to help consumed too much wine and food, so and fly high, fulfilling his dreams and him in the future. The lion set the rat he threw them into the river and they ambitions. Another image, located in free. Years later, after the lion had also floated to Lagud (also in the Ifugao the middle of a painting, is that of a fairy been set free, he was recaptured by a Upstream Region). Time passed, and with a box containing opportunities, huntsman and tied up with rope. When Humidhid’s family grew. One day his

MC_CS6_RZ_150116_DIS_RT_Insert_215x265_NEU.indd 6 16.01.15 15:36 daughter Bugan was by the river when pre-hispanic goddess of the afterlife → pp. 48/49 her lime tube (the small container used Mebuyan), the presence of the wild The Hole in the Sky, 2013 for betel chewing) fell into the water boar and the dog (widely believed to Acrylic on canvas and was swept away; it was found by be shape-shifters, whose planes of 183 × 305 cm Private Collection the bul’ul from Lagud who returned it existence encompass that of humans as to her. Bugan fell in love with one of well as other worlds), and the practice The Hole in the Sky is a work that pres- the bul’ul; they married and had chil- of leaving food for the dead to provide ents us with the interactions of gods dren. Only when one of these children the energy necessary for the journey to and human beings through a hole in went to visit their grandfather did the afterlife. But beyond these ideas and the sky. On the upper left part we see ­Humidhid realize that the bul’ul he beliefs also lies the Poetics of Death, Ukunirot, a hunter living in the sky had thrown into the river were human. crystallized in the image of the skull, who accidentally created a hole there. To redeem himself, he told his grand- reminiscent of depictions of the danse The central figure holding a roost- children to carve bul’ul so that the macabre or Baroque and Dutch still- er is based on the ­Bontoc legend of figures would protect their rice crops life paintings. However, the skull and Lumawig, a son of the supreme god and assure their well-being. ZMDR the skeleton can also be seen as the Kabunian. Lumawig asked Kabunian scaffolding onto which life clings. In if he could go down to live on earth, → pp. 42/43 this vein, reality and otherworldliness and ­Kabunian instructed him to bring Unfinished Bridge, 2013 are connected to and overlap with each a spear, a dog, a rooster, a betel nut, and Acrylic on canvas other through thought and faith. RT 193 × 204 cm a bag. The scene on the far right refers Private Collection to a legend of Bohol Island, in which a god who fell from the sky was helped by Continuing the thread of folktales → pp. 46/47 Modern Captives, 2013 ­animals—depicted here as ducks. RT from the Cordillera region, Unfinished Acrylic on canvas Bridge takes us to Balatoc, one of the 183 × 366 cm The Hori Science and Art Foundation, Japan → p. 51 oldest towns in Kalinga-­Apayao, and Origin of the Stars, 2013 home to various peoples including the Acrylic on canvas Modern Captives is inspired by a tale Tinguians of Abra, the Isnegs of Apayao,­ 183 × 142 cm about how the world was inhabited by Michelangelo and Lourdes Samson Collection and those from Dananao. This particular people of various characteristics and 7 tale revolves around a maiden named Origin of the Stars stems from the traits. It tells the story of the couple Ipogao, a god called Kabunian,­ and an ­Tagalog folktale about the rivalry be- Sikabay and Sikalake. They were given unfinished bridge. The story goes that tween Araw, the sun, and Buan, the a new lot in life by a wizard named Sibu Kabunian arrives in Balatoc as a strang- moon. Buan wanted to rule both night Inoptan, who had the power to change er from a faraway place and proposes and day, thus appearing even when the stones into plants, thus allowing them marriage to the beautiful Ipogao, who sun was still in the sky. Lihangin, the to have a large number of offspring. But says she will only accept if he proves wind, acted as arbiter; he advised Buan their children were very lazy, to the his love for her. Kabunian decides to not to occupy part of Araw’s kingdom, point where Sikalake became furious, make a bridge that will be of great for Araw was just and Buan must be- and the children fled in fear to various help to Ipogao’s community. However, have in the same way. But Buan ignored locations which determined their race he demands that no one watches him Lihangin’s advice and continued to rile and lot in life. Those who hid under the working, or interrupts him. But Ipogao­ Araw, until they fought and Buan was lankanos became the olipons (slaves); unwittingly interrupts Kabunian’s badly hit. Parts of his body were scat- those who hid behind the stove in the ­creation; angry that his demand has not tered across the sky and became stars, kitchen were called atas (Negritos); been complied with, Kabunian departs while he lost his former radiance retain- those who concealed themselves in the and the bridge is left unfinished.ZMDR ing only a ghostly glow. ZMDR trees were called the timauas (freemen), for they were poor and destitute of for- → pp. 44/45 → p. 52 Living Underworld, 2013 tune; those who fled to the mountains The Attraction, 2013 Acrylic on canvas became known as the Igneines, or those Acrylic on canvas, framed with engraved tin sheet 173 × 304 cm that were destined to work on the land; 167 × 136 cm Private Collection, Switzerland Private Collection and those who went to the shore were Living Underworld portrays a collec- called the Jiguesinas, or fishermen. This work is about gayuma, a love charm tion of images expressing concepts With regards to the present time, and with the use of magical chants that will inherent in Philippine mythology—of extending beyond mere myth, this work cause a person to love another. I have otherworldly beings, beliefs on the serves as an allegory for how we let also made reference to the folk story of afterlife, and worlds that parallel our presumptions and stereotypes pervade Bodobodo, a woman who changes her reality. There is the idea of the afterlife our perceptions, hindering our ability to appearance in order to make a man love as infinite and plentiful, symbolized realize our own identities as well as to her. I likened ­Bodobodo to a flower that by the woman with many teats (the connect with others. ZMDR attracts a bee. RT

MC_CS6_RZ_150116_DIS_RT_Insert_215x265_NEU.indd 7 16.01.15 15:36 legend, who spreads gossip or negative → p. 53 → p. 56 Lucky Fight, 2013 Business Prosper, 2013 things about a person. On the lower Acrylic on canvas, framed with engraved tin sheet Acrylic on canvas, framed with engraved tin sheet right are two figures wearing blinkers 166 × 136 cm 197 × 137 cm like those of a horse and earphones, Michael and Janet Buxton Collection, Australia The HIM collection, Singapore implying that the antidote is to be deaf This work refers to a good luck charm This work is inspired by an amulet that to whatever is said and stay focused on used for cockfighting. Shaped like a is for achieving prosperity in one’s busi- your goal or dreams. RT shield, this amulet also offers protec- ness, based on a story called “A Tailor

tion in a battle or war. The story inspi- Dwende,” about a dwarf who helped a → p. 59 ration here was a myth called “Origin poor man’s business. On the lower right She’s from the Sky, 2013 of Birds.” The chickens were originally is a spider: a creature that is very good Acrylic on canvas, framed with engraved tin sheet 136 cm (diameter) humans who waged war and fought at sewing and weaving its own home. RT The Tiroche DeLeon Collection and Art Vantage with each other. The gods got angry and PCC Limited turned them into chickens. The rooster → p. 57 The circular-shaped amulet is for used in cockfighting is also associated Faithful Lover, 2013 protection when one travels through with Saint Peter; when Peter betrayed Acrylic on canvas, framed with engraved tin sheet 197 × 136 cm the sky. The round shape signifies the Jesus three times the cock crowed. This Private Collection world, or the wheel of travel.­ The work bird is also believed to guard the gates is based on a Hiligaynon folktale called of heaven. RT Faithful Lover is based on a vessel-like or ­container-shaped amulet that is for “Magboloto,” about a man who wanted people who desire to keep their lov- to marry a star girl and therefore hid → p. 54 her wings so she could not return to the The Gift, 2013 ers loyal to them forever; it is a guard Acrylic on canvas, framed with engraved tin sheet against divorce and separation. The sky. But later on his wife found out what 197 × 136 cm Visayan folk story about Si Malakas he’d done, found her wings, and flew Ma. Charmaine Lim Collection at Si Maganda was revisited here; back to the sky. Magboloto asked the The Gift is about an amulet that is relat- with the help of the bird, Manaul, help of the eagle so he could apologize ed to the human desire to have children, the couple Malakas (The Strong) and and eventually reunite with his wife. RT and is a symbol of fertility. There is a Maganda (The Beautiful) was able to 8 Sagada Igorot folktale called “The Child emerge from the giant bamboo. At the → pp. 60/61 Born Without a Body” in which a child- top part of the work are a small fertility Earthly Desires, 2013 Acrylic on canvas less couple wants to have a child, even charm and a reptile/lizard called Tuko. 193 × 409 cm if that child is nothing but a head. In the “Kambal-tuko” means they will never Ateneo Art Gallery Collection story the head helps the birds to escape be separated. On the lower right is a a trap, and to repay the good deed the woman cooking. There is also a belief Earthly Desires presents viewers birds help the child (the head) to gain that when a wife loses her husband with a kaleidoscope of historical and a body. There are also birds carrying through infidelity, she should begin mythological images that represent bags that contain babies, as if babies are cooking and let the smoke seep into her man’s ­desires, principally for freedom or power as seen, for example, in the made in heaven. RT husband’s clothing. When one does this, it is believed that the man will return detail of a figure standing beneath a banana flower, waiting for the mutya → p. 55 and reunite with the wife. RT Monkey Beauty, 2013 (the liquid extract of the flower) to Acrylic on canvas, framed with engraved tin sheet drop into its mouth. It is believed 196 × 136 cm → p. 58 Private Collection, New Zealand The Antidote, 2013 that the mutya bestows strength and Acrylic on canvas, framed with engraved tin sheet ­power over creatures of the nether- Monkey Beauty is inspired by an amulet 141 × 213 cm Collection of the artist world to whoever ingests it. Next to that is related to the human desire for it, an ­angular, abstracted crocodile is beauty and eternal youth, as well as by The triangular shape of this amulet is reflected in a mirror as a politician with a folktale from Pampanga­ called “Juan an antidote for or protection against horns, alluding to an Ilocano folktale of Wearing a Monkey’s Skin,” in which a kulam or witchcraft. In this work an unjust president, whose thoughtless monkey is transformed into a human I look at kulam as a curse through wish to grow horns in order to frighten being. In this work, the sheep refers to words. I refer to the Parable of the his people came true and as a conse- the stem cell treatment used nowadays Gossip where a wise man (seen in the quence was killed by his people. The to achieve the “fountain of youth.” The lower left corner) used the analogy of painting also shows four elements: crocodile in the lower part of the work feathers being blown away by the wind fire, earth, wind, and water, each here represents the dark intentions of those to describe how words, when spoken, related to a different story: 1. Fire: who take advantage of the desire to cannot be retrieved again. The dark a myth about the god Aswang steal- be young by creating fake potions that central figure is inspired by the figure ing fire, the symbol of his brother other people believe to be true. RT of ­Mangkokolam, from a Zambales ­Gugurang’s power, because of envy.

MC_CS6_RZ_150116_DIS_RT_Insert_215x265_NEU.indd 8 16.01.15 15:36 2. Earth: a historical scene depicting of the Philippines. The sky became → pp. 68/69 the Filipino revolutionary hero Andrés the abode of the creator-god Mana- The Magic Stone, 2012 Bonifacio with a group of peers enter- ma, his diwatas (divine beings) and Acrylic on canvas ing a cave that could serve as a secret deities. It was once close to the earth, 193 × 153 cm Private Collection, Berlin meeting place for the Katipunan move- so that Manama or his deities could ment. 3. Wind: the creation myth of keep watch over the people and pro- The Magic Stone follows the story of the Igneines and Negritos ­people, with tect them from the interference of the the T’Boli tribe of how the sun, moon, Captan (the origin of the First Man and Ogassi and other bad spirits. As the sky and stars came to be. In olden times, First Woman). 4. ­Water / Rain: referring was low, people could go up very easily a man named Kadaw was appointed to stories of great flooding, a prevalent and see their protectors. Indeed, it was as an intermediary between the peo- problem in the ­Philippines (often caused so low that those pounding rice were ple and the diwatas (divine beings). or worsened by deforestation). ZMDR inconvenienced. Their pestles would Kadaw was also the sole owner of a hit the sky, and therefore they asked whetstone so anyone who wanted → pp. 62/63 for the sky to be raised. Thenceforth, their bolo knifes sharpened came to Chocolate Ruins, 2013 the people could no longer climb to it. him. Yet problems arose when people Acrylic on canvas 305 × 732 cm The deities showed their concern for tested the sharpness of the bolos on Private Collection the people, however, creating a stair- one of the pillars (blotik) of Kadaw’s way to the sky. It rose so high that the house. Despite being warned that the Folklore and modern life meet in diwatas provided food on each rung of house might collapse, they kept strik- Chocolate Ruins, which plays upon the ladder so that any time the people ing their newly sharpened bolos upon preconceived notions on the savage climbing got hungry, they would have the pillar, and eventually Kadaw’s and the industrial, the esoteric and some food to eat until they reached the house collapsed. Because of this, he the apparent. In the center is the bird- place of the diwatas. RT wanted to leave, but he argued with god Manaul who, by breaking bamboo, his wife Bulan over who would carry ­creates not the first man and woman their child, since Bulan said she was but a machine that produces choco- → pp. 66/67 not strong enough. Kadaw then divid- late. This image borrows openly from Multi-petalled Beauty, 2012 Acrylic on canvas ed his child in half, scattering finely creation myths originating from Bohol. 244 × 427 cm chopped pieces on the ground which In 2013 this island province was struck Private Collection, Indonesia 9 became crickets (kerwe) and the other by a magnitude 7.2 earthquake, that half in the sky, where they became the leveled churches and marred tourist Multi-petalled Beauty comments on the stars. Bulan was so angered by this destinations such as the Chocolate violence of human attempts to grasp that she told Kadaw she never wanted Hills. The painting makes a connection nature’s vitality in their desire for to see him again. Thus when Kadaw, between this event, Typhoon ­Haiyan beauty and youth. Here we find a flock the sun, is around, Bulan, the moon, is which ravaged the Visayas region (of of sheep, as an allusion to Dolly, the first absent. ZMDR which Bohol is part), and the gross animal to be cloned; a monkey shedding inadequacies of the government in his skin to reveal a ghostly pale man responding to either disaster, opting similar to the prince trapped in the → p. 71 body of a frog in the Grimm fairytale Greener Flight, 2012 instead to focus on media fanfare, Acrylic on canvas especially the Pork Barrel Scam and “The Princess and the Frog”; thin, aged 122 × 91 cm saccharine charitable initiatives (that tubes producing smoke; and a crocodile Private Collection Greener Flight is a take on the literal have corrupt motives). The Pork Barrel and a tree being offered a flower by the flight and diaspora of Filipino migrant Scam is symbolized by the legend of monkey, as a metaphor for aged politi- workers or OFWs (Overseas Filipino the corn plant, a golden crop which cians using expensive stem cell treat- Workers). Here the father figure takes grew from a corrupt Pig King’s under- ments to appear younger. On the left, a the form of the bird, who has to fly ground treasure of gold. In Tapaya’s two-sided being is sucking the essence away frequently to look for food for his painting chocolate can be easily equated from a woman, which can be interpret- ­children. He also bears his entire family to momentary pleasure: to something ed as the process of taking bone marrow on his back, expressing the desire to that deludes and corrupts, bringing a to prolong life, and placentas to pro- bring loved ones to a better situation false sense of happiness. ZMDR duce stem cells. Abuses in the quest to sustain youth occur not only between while always falling short due to forces humans and nature but also among that, while manmade, are still beyond → pp. 64/65 individual control. ZMDR Manama’s Abode, 2012 humans themselves. It is interesting to Acrylic on canvas note that all of this is not negotiated 193 × 153 cm Private Collection, Philippines within a laboratory (the working scien- tists being mere specks, addressed cur- The painting is inspired by a myth of sorily) but within the jungles, i. e. in the the ­Manuvu tribe, in the southern part spiritual and natural realms. ZMDR

MC_CS6_RZ_150116_DIS_RT_Insert_215x265_NEU.indd 9 16.01.15 15:36 working. When they returned for a fable delivers a clearcut message: once → p. 72 Maria’s Mother, 2012 break they could not find their lunch. we have said something, especially Acrylic on canvas What they had taken for a branch of a something abrasive, it’s rarely possible 122 × 91 cm tree was actually a deer’s horn. Tapaya to take it back. ZMDR Private Collection ventures beyond a narrative level by The primordial figure of the mother is connecting the story to present-day → p. 79 here presented in a rather symbolic and issues of environmental degradation, Bangan’s Appearance, 2012 particularly the ravages of forests and Acrylic on canvas abstract way. Tapaya portrays the com- 122 × 91 cm plex dynamic between a dog-mother­ ecosystems for the purposes of illegal Private Collection and her three daughters through sym- logging. The work invites us to ponder The work is a reference to a folktale bols and diagrams, implying words and upon what we will do once natural from the Cordillera region, in the north- expressions of affection that are inex- resources have been exhausted. RT ern part of Luzon Island (Philippines).­ plicably withheld. ZMDR A woman named Bodobodo­ becomes a → p. 76 Dalagang Bukid, 2012 false bride by stealing the identity of an- → p. 73 Acrylic on canvas Don Miguel, 2012 other woman, Bangan, and turning her 122 × 91 cm Acrylic on canvas Private Collection into a caterpillar. In the painting, the 122 × 91 cm true bride is seen warning her groom of Private Collection Dalagang Bukid stems from an Igorot Bodobodo’s exploits but the work also This canvas is a subtle commentary folktale about a daughter who left explores the other side of the story: the on social disparity and greed as exem- home for strange and exotic lands. This insecurities and needs of an unwanted plified by the imposing figure of Don quest for excitement and adventure is person. ZMDR Miguel, the poster-image of a typical particularly resonant in the present landlord (haciendero) who is slowly time, when people travel for money or → pp. 80/81 being eaten up by power, yet growing at pleasure but almost always find them- New Home, 2012 selves like “fish out of water.” Here, that Acrylic on canvas the expense of the small people working 122 × 152 cm under him. ZMDR phrase takes on a literal turn as the quasi- Private Collection wanderlust daughter is turned into a 10 New Home conveys the optimism of → p. 74 creature that is half human, half fish, Banana Skin Peeling, 2012 and is put on display at a carnival. ZMDR second chances and fresh starts, despite Acrylic on canvas a legacy of unhappiness and ill fortune. 122 × 91 cm We see the recurring motif of the deer, as Private Collection → p. 77 Treasured Egg, 2012 well as the figures of two young girls be- The act of, and reflection on, trans- Acrylic on canvas ing embraced by a woman with a caring 122 × 91 cm gaze. In the background is what appears formation by peeling off one’s original Private Collection skin is implied in Banana Skin Peeling. to be an orphanage with cribs filled with Here, the cultural aspect of colonial- Continuing with the thread of greed children, overseen by a ghostly white ism and a fatal sort of dependence, drawn from Don Miguel (2012, p. 73), bird. The work refers to the common the seeking of validation from often this work has its origin in a classic trope of two siblings left alone in the foreign perspectives, is explored. The fable about a greedy man who killed a wilderness, as found, for example, in the repetition of bananas on the bottom, chicken that laid a golden egg, believ- folktale from Pampanga (Philippines)­ which appear to revolve on a conveyor ing the bird had a regenerating lump of of Juan and Maria, the Roman myth belt, also points to ideologies and ideas gold inside it. ZMDR of Romulus and Remus, or the Grimm of a standard beauty that are being sold ­fairytale of Hansel and Gretel. ZMDR

through mass-produced consumer → p. 78 goods. ZMDR The Wise Man, 2012 → pp. 82/83 Acrylic on canvas The Metamorphosis, 2012 122 × 91 cm Acrylic on canvas Private Collection → p. 75 122 × 152 cm Lost Saw, 2012 Bencab Museum Collection, Philippines Acrylic on canvas The Wise Man refers to the parable of a 122 × 91 cm Private Collection gossipmonger who asked the Wise Man The melding heads of beasts and man for help in getting rid of her bad habit. presents the viewer with concepts of a Lost Saw is a reference to a folktale The Wise Man advised her to leave primordial core and a unity with nature. from Tarlac, and common beliefs on the feathers at the doors of all those she However, at the same time, in the cen- fate of lost things. The story is about had talked about, retrieving them the ter of the image is a man fleeing from two woodsmen who went out for a day next day. When she returned to collect what appears to be a manananggal (a of tree-cutting. Putting their basket of the feathers, however, she found they mythical creature similar to a vampire), food on a branch of a tree, they started had been blown away by the wind. This which can be interpreted as the act of

MC_CS6_RZ_150116_DIS_RT_Insert_215x265_NEU.indd 10 16.01.15 15:36 trying to escape the primitive part of means “a lovely woman who looks like ­folktale about a girl who is unable to ourselves. ZMDR a flame of fire”) and carries her up to stand the tedious life of chores and the heavens to meet Init-Init, the Sun. looking after her younger sister and

→ pp. 84/85 Finding that he is away, providing light mother. At a place called the Gedangan, Mountain Fantasies, 2012 to the world, ­Aponibolinayen begins where she was to fetch water, she took Acrylic on canvas cooking food; when Init-Init returns off her clothes, changed into a big fish 153 × 305 cm The Tiroche DeLeon Collection and Art Vantage she takes fright and flees. Init-Init and lived among the waters of the rice- PCC Limited spends a sleepless night wondering field. One day she was caught by a father who the beautiful woman was. The and son, who put her in a bucket of This painting is a social commentary on next day he hides and waits for her; water and took her home. After they had mining and the preservation of nature. after she appears, he offers her a betel left to cut up firewood, she turned back Various legends in the Philippines tell nut wrapped in gold as a token of his into a girl, cooked some food, and then of Maria Makiling, a beautiful goddess passion. The painting, in an endearingly returned to her fishlike form. The fa- of the forest who takes care of all the funny Ghostbusters-esque image, de- ther and son were puzzled by the mys- plants and animals there. She is believed picts a melted Aponibolinayen inside terious presence of freshly cooked food; to be capable of transforming into a a jar: in the heat of her bonding with after this they observed their house deer, and it is also said that when trees Init-Init, she has quite literally melted. closely, waiting for the moment when die there are spirits who bring seeds In this respect, the work captures both smoke emerged from the chimney, indi- enabling new trees to grow. These tales ancient and contemporary expressions cating that food was being cooked. In speak of nature’s cycles of degeneration of love. In the Philippines, the betel nut this way they found the girl who told and regeneration. Tapaya’s painting is prized across different groups and them her story. Eventually the young deals with the fact that, in today’s world, tribes for its ceremonial and social man and the girl married; they visited regeneration cannot keep up with the purposes: it is often offered during the girl’s mother, put the past behind degeneration occurring in forests, ­rivers, marriage proposals or rituals, or sim- them, and lived an uneventful and con- and seas. With this work the artist is ply as a token of friendship. ZMDR tent life. ZMDR suggesting that we need to be more ­conscious of the natural world and try → p. 90 → pp. 92/93 our best to preserve or protect it. ZMDR The Precious Bell, 2012 Secrets of the Forest, 2011 Acrylic on canvas Acrylic on canvas 11 183 × 152 cm 180 × 221 cm → pp. 86/87 Private Collection Private Collection The Early Bird Catches the Worm, 2012 Acrylic on canvas 244 × 427 cm The work refers to the legend of how Mori Art Museum Collection, Tokyo → p. 94 the Makopa­ fruit came to be. Two vil- Fairy Healer, 2011 The eagle in Hiligaynon folklore is lages wage war for a magical bell that Acrylic on canvas brings rain and abundant crops. A man 183 × 102 cm seen as an ally and representation of Private Collection redemption. The painting presents from the village that possessed the bell the tale of a man sent on an errand by buries it in the ground to protect it, but he dies in battle, taking the secret of the → p. 95 his mother in exchange for the secret Mother and Child, 2011 of his name. This errand turns into an hiding place to his grave. The prosper- Acrylic on canvas ous village suffers from bad crops and 183 x 102 cm adventurous journey, during which Private Collection the man conjures up the Sea Goddess the bell is forgotten, until one day a boy, with the aid of a fish and an eagle, and having got lost in the forest, finds a tree Mother and Child relates the story of a king eventually offers him his daugh- whose red juicy fruits look like bells. the Sun and the Moon—at that time ter’s hand in marriage. However, the The villagers believe that the kindly still sharing one face—whose son fell man, staying true to his quest, returns anito who originally bestowed the bell to Earth. Eventually he was returned to his mother, only to find she has died on them has wanted them to find it to his Father-Sun by a giant cat. How- in the meantime—so he never finds out again and so has created this tree with ever, the strain that the crisis brought the secret of his name. ZMDR many bell-like fruits. When they begin upon the Sun and the Moon made digging, they find among the roots their them separate from each other, and precious bell. As an act of gratitude they → pp. 88/89 now they appear at different times. It When the Sun Visited the Earthworld, 2012 replant the tree and thereafter call it is said that when the Mother-Moon Acrylic on canvas Makopa (meaning “many cups”). ZMDR glows upon the Earth, she is wanting 193 × 334 cm Private Collection, Philippines to guide her son back home, unaware → p. 91 that a giant cat has already helped him This painting transports us into an The Girl Who Turned Into a Fish, 2011 Acrylic on canvas return. ZMDR ancient world of love and its processes. 193 × 152 cm A vine entwines itself around a maiden Private Collection named Aponibolinayen (whose name Here the artist draws on a Sagada Igorot

MC_CS6_RZ_150116_DIS_RT_Insert_215x265_NEU.indd 11 16.01.15 15:36 → p. 97 → pp. 100/101 → p. 107 The Golden Coat, 2011 Redeeming the Fire, 2011 Road Less Travelled, 2010 Acrylic on canvas Acrylic on canvas Acrylic on canvas 152 × 122 cm 244 × 335 cm 193 × 152 cm Private Collection Private Collection Private Collection

The Golden Coat retells a Bagobo In this work Tapaya references an ex- → p. 108 folktale of a squirrel who was born tensively chronicled Bicolano folktale A Windy Day and a Swirl, 2010 from the hair of a woman. He gave a about the supreme god Gugurang, who Acrylic on canvas 122 × 91 cm necklace to his mother and asked her guards the sacred fire, his evil brother Private Collection to go to the sultan, using the necklace Aswang, who always tries to steal it, and as a dowry in exchange for the sultan’s the Chicken Army, once under Gugu- → p. 109 daughter’s hand. The sultan declared rang but after rebelling condemned to A Bountiful Harvest, 2010 that he would only concede to the mar- live on earth and to be raised as mere Acrylic on canvas poultry. Here fire serves not only as 193 × 152 cm riage if his house was turned to pure Private Collection gold. In an attempt to carry out this a symbol of knowledge, wisdom, and request, the squirrel went to his brother- power, but also represents the frailty → pp. 110/111 mouse in the middle of the night, bit of the human character to contain and Moving with the Carabaos, 2010 him and took his fur which was made appropriate these assets accordingly. Acrylic on canvas of gold. The squirrel rubbed the fur The eye-bubbles issuing from the hose 152 × 193 cm Private Collection on every part of the house, turning it of the Chicken Army can be taken as a to gold. When the sultan woke up and metaphor for the obscenity of army and → p. 113 saw all the gold, he was so frightened government surveillance. In a world Secrets of the Forest, 2010 that he died. The squirrel then married that has become increasingly virtual and Acrylic on canvas the sultan’s daughter but only stayed impersonal, where violence is becoming 193 × 152 cm Private Collection at the golden home for one month. increasingly subversive and sophisti- The couple eventually settled in his cated, Tapaya seems to plead for us to → p. 114 mother’s house, and after one year the reflect on how to retrieve our fire.ZMDR Passing by the Calm Waters, 2010 12 squirrel shed his own coat and became Acrylic on canvas a Malaki Toluk Waig (semi-divine be- 91 × 122 cm → pp. 102/103 Private Collection ing). This folktale is two-fold, on the Campfire Scene, 2010 one hand speaking of perseverance and Acrylic on canvas 152 × 193 cm resourcefulness, and on the other hand → p. 115 Collection of the artist Tikbalang, 2010 portraying a hero with a rather sinister Acrylic on canvas nature. As in many other works, here Moving away from the highly detailed 152 × 122 cm Private Collection Tapaya is reflecting upon the duality of and folklore-based works, Campfire so-called values and the price we pay Scene and the eight works that follow This work refers to the belief that for our desires. ZMDR it are expressionistic landscapes con- ­spotting a white tikbalang (a horse- veying a degree of mystery. With their man creature in Philippine mythology) pared-down details, the unfamiliar → p. 99 at the shore is a sign of good luck, Emergence from Bamboo, 2011 landscapes convey a sense of pleasur- and will bring a bountiful catch for Acrylic on canvas able isolation. In the absence of words, fishermen. This is but part of a larger 152 × 122 cm there unfold spaces in which it is possi- Private Collection mythological grammar surrounding the ble to communicate in other ways. The tikbalang, marking the compartmen- Here, the well-known creation myths ghostly characteristics of the figures talization and compression that is also of Malakas and Maganda, and of how imply nostalgia for a bygone era of occasionally observed in Philippine the Philippine islands came to be, are dignity and self-containment that now languages. (­Examples would be the combined. When an eagle hears a tap- exists in only a few places. ZMDR term umuulan, which encapsulates, ping in the forest and locates its origin in the English language, the entire re- within two giant stems of bamboo, he → pp. 104/105 mark “it is raining,” or the use of only taps on the stems and releases Malakas Dancing in the Moonlight, 2010 one syllable in the sentence bababa ba? Acrylic on canvas and his mate, Maganda. The couple 152 × 193 cm which roughly translates to “is this ride on the eagle’s back until they Private Collection [elevator] going down?”) Rather than come across land. Upon stepping on drawing a grand and full narrative, Phil- the land, their combined weight broke → p. 106 ippine myths create components that it into several pieces, giving rise to the Chicken Feeding, 2010 can stand alone in storytelling but that Acrylic on canvas known Philippine topography of land 122 × 91 cm nonetheless serve as a significant part and water. ZMDR Private Collection of a whole. Here, Tapaya’s­ very method

MC_CS6_RZ_150116_DIS_RT_Insert_215x265_NEU.indd 12 16.01.15 15:36 of compostion reflects this Filipino onto an acrylic or glass sheet and the forms of gluttony at the expense of those tendency towards suggesting or outlin- resulting image—the reverse of what who tend to and live off the land.ZMDR ing a story rather than recounting every has been painted under—­becomes the last detail. The focus­ is on the tikbalang final work.ZMDR → pp. 124/125 and the figures of the fishermen, while Nang wala pang ginto ay doon nagpalalo, nang elsewhere the abstract lines and drip- magkaginto-ginto ay doon na nga sumuko?, 2010 → p. 120/121 Acrylic on canvas pings tend to almost “cancel out” the Bituin, 2010 194 × 305 cm background rather than rendering it in Acrylic on acrylic sheet, under-glass painting RCBC Art Collection, Philippines 76 × 102 × 6 cm any figurative way.ZMDR Private Collection The work’s title is a riddle whose an- swer is “rice”: or more precisely palay, → p. 116 Another example of the popular Tabi tabi po, 2010 under-glass painting method (see and its appearance before its grains Acrylic on canvas develop, when it still stands proudly 152 × 122 cm previous text), Bituin ­relates to the Private Collection tale of a sky maiden whose wings were upright rather than bending towards discovered by a man watching her and the earth. Tapaya also includes the folk- In Tabi tabi po, a figure emerges from her sisters bathe in an earthly lake. This loric history of a staple food that can be what appears to be warehouses or ­story, following a narrative pattern sometimes taken for granted. He begins farmhouses into a terrain dominated and trope, is shared across cultures, with the origin of rice, drawing on tales by the mound bearing a face in the from Chinese to Native American. It is from the Cordilleras about the supreme foreground. The painting refers to the a classic captive story, often colored god Kabunian offering it to the people goblin Nuno who is believed to dwell in with the concept of female duality in return for kanyao or ritual offerings. rocks, mounds, or caves, and who curses (a woman’s identity before and after a In one instance the people forget to those who damage his home. Because defining relationship).ZMDR make these offerings to Kabunian; angry, of this belief, the words Tabi tabi po he sends a rat to devastate the crops. (roughly translated as “please move The people, having learned their lesson, away”) are often uttered when one is in → pp. 122/123 Baston ni Kabunian bilang pero di mabilang (Cane of vow to never again forget, whereupon an unfamiliar place or a site that is con- Kabunian, Numbered but Can’t Be Counted), 2010 the appeased Kabunian sends them a sidered sacred, or if one is faced with Acrylic on canvas cat to chase away the rat. As the cat and 305 × 610 cm ZMDR 13 anthills or termite mounds. The Tiroche DeLeon Collection and Art Vantage rat run down the path, they are met by PCC Limited bulldozers ravaging the land. A landlord → p. 117 towers gleefully on the earth-turned The title of this work refers to a ­riddle, Diwata, 2010 subdivision: space meant for growing Acrylic on canvas roughly translating to Cane of Kabunian, 152 × 122 cm fields of rice. Real-estate development Numbered but Can’t Be Counted. The Private Collection is encroaching on an important way answer to the ­riddle is “rain” (which of life and endangering a crop that has falls on earth in a certain amount, → pp. 118/119 sustained cultures and civilizations but we cannot count its raindrops). Mahiwagang Kabayo (Magic Horse), 2010 for thousands of years. This results Acrylic on acrylic sheet, under-glass painting The painting focuses on the tale of the 76 × 102 × 6 cm in flying sacks of rice, indicating the supreme god Kabunian, who, in the Private Collection country’s present-day malaise about shape of a giant dog, saved humans being dependent on rice imports—an Mahiwagang Kabayo is inspired by from a great flood. In this tale, the dog embarrassment for a country that once the tale of Pedro and his flight from is viewed as a symbol of salvation, and led the Southeast Asian region in rice the witch Boroka, who had ­previously an ally and helper to human beings. It is production and research. ZMDR given him three handkerchiefs as also said that the great flood had been a kind of bait to trap him. However, prophesized by two children whose the three handkerchiefs also possessed warning went unheeded. Interwoven in → pp. 126/127 magical powers, ­being able to turn into Creation Myths, 2009 this narrative is the origin of the frog. In Oil on canvas and wall installation using epoxy, wood, a mountain, a body of water, or a wall this second story, the frog is said to have and acrylic of fire. Trying to escape on horseback once been a gluttonous man who fell Painting 183 × 244 cm, extensions of variable ­dimensions from the witch, Pedro had to figure out into a body of water and could not swim Collection of Singapore Art Museum which of the three could defeat her; back to shore. Thus, he turned into a the fire handkerchief did the trick and frog. Furthering Tapaya’s­ penchant for Creation Myths is a narrative pas- he was able to evade Boroka. In terms intertwining separate myths into a new tiche of creation myths found in the of technique, Mahiwagang Kabayo is narrative, here we find an outline of fac- ­Philippines. Here we see the ­mythical an example of under-glass painting or tories and corporate buildings sitting on bird Manaul, whose feathers are trans- the reverse glass method, a common the back of the frog; in the foreground is formed into different animals, includ- practice in Indonesia and once in co- an illegal logger felling a tree with a hu- ing human beings. Along with this are lonial Philippines, in which one paints man face. All details suggest still further stories about various deities such as

MC_CS6_RZ_150116_DIS_RT_Insert_215x265_NEU.indd 13 16.01.15 15:36 Kan-Laon, the Creator and King of In this work the central image is of a Origin of Echo is based on a folktale Time on the cloud, and tales about the rat who wants to fly. Hunted by a cat, from the ­Bicol region, southeast Luzon children of Bathala (the ­supreme god the rat pretends to be dead and the cat (Philippines), about a disobedient boy of the ancient Tagalogs), and Apolaki takes interest in a bird instead. It eats who, instead of helping his mother and Mayari, who are the Sun and the the bird but leaves its wings intact; the with chores, chose to stay in the woods Moon respectively. ZMDR bird’s blood ends up on the rat’s back and imitate the call of birds, the sound and he develops wings, and gains the of waterfalls, and every other noise ability to fly. However, despite his dream that he heard. ­Travelers passing by the → p. 129 Top Secret, 2009 of flight being fulfilled, he becomes a village at night were frightened when Acrylic on canvas pariah-like creature, being no longer a they heard the boy’s various sounds 193 × 153 cm Private Collection rat but not quite a bird. ZMDR and voices. Eventually his mother became so exasperated, she wished

Top Secret draws its narrative from an → p. 133 aloud that she’d never had a son. As Ilokano folktale about a corrupt pres- Cornelia and the Batbat Cuao, 2008 soon as she uttered these words the ident who grows horns—a sign of his Acrylic on canvas boy disappeared, condemned to stay in 193 × 152 cm unjust nature—and is therefore killed Private Collection the places where he had been imitating by his people, “for he is no better than people’s voices and other sounds. a beast.” This beastliness is portrayed in Here Tapaya takes us into the night- Origin of Echo is one of Tapaya’s most a two-fold way: as a leader who takes no marish and uncanny side of nature. straightforward adaptations of folklore responsibility for his people and instead Against a night sky of grainy swirls, from language to image. ZMDR flourishes at their expense, and also, Cornelia is abducted by the batbat cuao (“the two-headed lady”). A detail literally, as an animal with no control → pp. 142–145 over its impulses. The title refers to the depicts a logger cutting off what seems Modern Manananggals, 2013 president’s attempt to keep his horns to be the trunk of an old tree, suggesting 7 pairs (male and female) that Cornelia has been taken as revenge Encaustic on fiberglass resin, wood, and engraved “top secret” out of shame, but it could tin sheet also allude to under-the-table transac- for the felled tree. ZMDR 33 × 33 × 147 cm (each upper torso) 23 × 20 × 147 cm (each lower torso) tions and ulterior agendas. ZMDR Exhibition view, Rodel Tapaya: Bato-Balani, ­ → p. 134 Ateneo Art Gallery, Philippines, 2014 14 Bodobodo, 2008 Collection of the artist → p. 130 Acrylic on canvas The Legend of Sibul Springs, 2009 193 × 152 cm Acrylic on canvas Private Collection The source of inspiration for this is the 193 × 152 cm Filipino monster called ­manananggal Private Collection This painting is connected to Bangan’s­ likened to the OFWs (Overseas This painting derives its narrative Appearance (2012, p. 79), as it has its ­Filipino Workers) of today. The and title from a Tagalog folktale about origins in the same story. Bodobodo, detachment of the upper body means the origin of the Sibul Springs. A however, contains a more detailed this can work in another place while cosmopolitan man ventures into the depiction of Bangan’s transformation the lower body is left behind: i. e. countryside to search for a bride. After into a caterpillar and her ravaging the family left in the birthplace, the meeting a beautiful woman living in of the sugarcanes, and of the intial Philippines. The word manananggal isolation, he wants to see her again. assumption of ­Bodobodo (masquer- denotes a mythical creature similar On his way back to her he sees a mag- ading as Bangan) and Gatan (Bangan’s to a vampire; the ­peculiar thing about nificent white dog; unaware that it husband) that it was the gods who this creature, however, is that it divides belongs to the beautiful woman, he were killing the sugarcanes, followed itself into two. The upper part of the shoots it. As soon as he touches the by their attempt to appease them body detaches from the lower body dog’s body, the ground opens wide with ­offerings of an egg, a ­chicken, in order to devour a victim or get and swallows them both. On this site a and a pig (represented by three hands food, after which it will return to and spring wells up and the woman, full of ­issuing from a tree). While the 2012 rejoin its lower part. I relate this to sorrow, turns into an acacia tree with work offers a narrative open to overseas workers who have to leave low-hanging branches. ZMDR ­redemption, this work presents a their roots, their families, in order to ­narrative that focuses on retribution, feed their own families and to provide with Bodobodo being killed by Gatan a better future for their ­children: → p. 132 The Origin of Bat, 2008 in order for him and Bangan to be greener ­pastures. But in the case of Acrylic on canvas united once more. ZMDR manananggals, if somebody sees the 193 × 152 cm Private Collection lower part of the body and puts salt on → p. 137 it, the upper body is ­unable to rejoin The Origin of Bat is another take on Origin of Echo, 2008 its body and the monster will die. This Acrylic on canvas is the same with overseas workers, transformation and metamorphosis: 193 × 152 cm dominant themes in Tapaya’s works. Private Collection if it takes too long for them to return

MC_CS6_RZ_150116_DIS_RT_Insert_215x265_NEU.indd 14 16.01.15 15:36 to their ­families; it is hard to mend animals, and lastly man as steward ­particularly in ­Thailand. In Pedro and the results of the lost time, leading to of the earth, as well as the idea of the the Witch, the viewer encounters the ­broken ­relationships. RT world being created in six days and the climax of Pedro’s tale as he flees the seventh day being one of rest. ZMDR witch ­Boroka, surrounded by flames

→ p. 146 from the magical handkerchief he Sigbin, 2014 has dropped. In Mang Pedro and the → pp. 150/151 Bronze mirror and fiberglass Snake, a woodchopper is reprimanded 48 × 61 × 64 cm Isang Kahig, Isang Tuka, 2010 Private Collection Floor installation composed of fiberglass and wood by a snake that dwells in a tree with Dimensions variable Exhibition view, Rodel Tapaya: Bulaklak ng Dila, rare white leaves—the source of the → p. 147 The ­Vargas Museum, University of the Philippines, woodchopper’s income. The snake Pangudyawon, 2014 2010/2011 tells him to marry off his daughters to Bronze mirror and fiberglass a lion, eagle, and fish in exchange for 48 × 61 × 64 cm The expression isang kahig, isang tuka the rare white leaves. The Hunter of Private Collection describes a way of life that is day-to-day, Ryan Tizon and Potchie Lazaro Pinamaloy narrates the story of a hunt- lacking any foresight or planning. The er who, after being wounded by a wild This work refers to a folktale about the expression also alludes to the literal boar, desparately creates a garland of plight of a boy (Pangudyawon) whose feeding habits of chickens, as they peck pig ears for his dog and instructs it to parents fed him rotting food. The child at the ground and scratch it with their look for help. The Wise Monkey and the calls on both doves and vultures to talons. The painting itself refers to a Foolish Giant tells the tale of a trickster provide him with wings, feathers, and a ­Tagalog myth from Bulacan, central monkey who persuades a giant that the beak. He then flies away, vowing to nev- ­Luzon (Philippines), about the origins mouth of a great crocodile is a cave and er come back. In an attempt to appease of birds, which relates to the conflict plays other tricks on him, such as tying him and bring him back, his parents between the three kings Rajah Manuk, his hands behind his back saying it is perform a rice wine feast for him; when Rajah Uwak, and Rajah Lawin. Rajah the only way the giant could survive he becomes inebriated, his mother Manuk, wanting to conquer the two an oncoming storm, thus leading to his plucks off his feathers, wings, and beak. ­other kingdoms, became embroiled in demise. ZMDR This story of juvenile flight resonates squabbles and fights with the Rajahs well in the present age. Children from Uwak and Lawin, meaning none of them poor Filipino families are often forced managed their respective kingdoms. ZMDR: Zeny May Dy Recidoro 15 RT: Rodel Tapaya to leave their homes and make their The gods, irked by the fighting fueled way in the world by begging, hustling, by nothing but cruelty and greedy ambi- or stealing. ZMDR tion, turned the three Rajahs into birds so their descendants might be remind-

→ p. 148 ed of their inhuman acts. ZMDR Manama, 2010 Fiberglass resin 28 × 38 × 46 cm → pp. 152–153 Exhibition view, Rodel Tapaya: Bulaklak ng Dila, From the Diorama series, 2009 The ­Vargas Museum, University of the Philippines, Brass, wood, epoxy, and found objects 2010/2011 60 × 31 × 26 cm each

Manama is a sculpture that depicts Pedro and the Witch the highest god of the Manuvu or the Collection of Singapore Art Museum

Manobo, an indigenous group from the Mang Pedro and the Snake island of Mindanao noted for their war- Private Collection rior spirit. Manama lived in the highest The Wise Monkey and the Foolish Giant realm of the sky. ­Singlehandedly he Collection of Singapore Art Museum created the sky, the earth, and all living The Hunter of Pinamaloy beings. The earth was created from the Collection of Singapore Art Museum dirt under his fingernails, but it con- sisted of dry rocks and nothing would Diorama consists of ten works: the grow on it. So Manama called on his boxes on stilts and the peaked roofs bird, the limokon, to steal a particle of are suggestive of retables and urnas the evil god Oggasi’s soil. He mixed his traditionally used to contain images dry soil with Oggasi’s until mountains of saints for display inside ­houses. were created, as well as rivers and seas ­However, with Tapaya’s melding of that nurtured the earth and allowed the ­chthonic and the colonial, the plants to grow. From this point on, the dioramas also bear a resemblance to tale takes on the familiar Christian the spirit houses prevalent in neigh- trope of first trees being created, then boring countries in Southeast Asia,

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