Cedrick Dela Paz
August 13 - September 03, 2022
Hindi Makukubli ang Singaw ng Pagkabulok
The Stench of Rot Cannot Be Concealed
Ang bawat obra ni Cedrick Dela Paz ay isang pagbubukas ng apertura sa danas ng masa, silang mga nagkukumahog na makasakay sa dyip, pinapalipas ang kapaguran sa mabilisang pag-idlip, at tila upos ang lakas para labanan ang nakasanayan. Patpatin, malalim ang mga mata, nakalaylay ang mga leeg, ang mga piguras—na tila’y mala-kahon ang mga biyas—ang sumisimbulo sa mayorya, ngunit sila ang mga burado sa kasaysayan. Pinanunumbalik ni Dela Paz ang kanilang kuwento sa lawas ng kanbas, upang lagi’t laging magpaalala: hindi sila ang kalaban.
Sa kanyang pinakahuling eksibit na Pugad Baboy, na may kaparehong lunan sa Pasig kung saan lumaki ang pintor at pamagat ng satirikong komiks ni Pol Medina Jr., nirerepresenta naman ni Dela Paz ang mga tinaguriang baboy sa lipunan, yaong mga tao na walang patumanggang nagpapayaman sa puwesto, nang-aagrabyado sa mga wala, at nagpapakasasa sa luma at bulok na sistema. Pamilyar at naglipana sila: sa negosyo, sa relihiyon, lalo na sa pulitika.
Kahit pa nakapostura at naka-barong, hindi maikukubli ang bantot ng personalidad ng mga piguras. May isang naghahari-harian; may isang de-susi; mayroon ding nagpapakabanal. Sila ang nagpapanatili na umiiral na kalakaran kung saan patuloy na dinadahas ng may meron ang wala. Sinasalamin ito ng piyesang, “An.ekwal,” kung saan ang mga paa ng mga mahihirap ang pumapasan at bumabalanse sa mundo ng mga mayayaman.
Mapangahas ang eksibisyon nito ni Dela Paz, hindi lamang dahil tahasan nitong inilalantad ang pagkarupok ng pambansang sistema ngunit sinasalimsim nito ang pagpapatuloy ng nakagawian: ang pagpuputong ng korona sa ulo ng mga tiwali, mapagpanggap, at manhid sa danas ng nakararami. Ngayong nakabalik ang ilan sa kapangyarihan, kagyat na paalala ng Pugad Baboy: walang kandado ang kadena at maaari nang kalagin.
Every work of Cedrick Dela Paz opens an aperture into the experience of the masses, those who rush riding a jeep, who take a moment of respite from a nap, whose strength to fight the status quo seems to have been spent. Thin, sunken-eyed, their heads hanging low, the figures—whose limbs are rigidly box-like—symbolize the majority, but they are the ones erased from history. Dela Paz restores their stories across the breadth of the canvas as a reminder: they are not the enemies.
In his latest exhibition, Pugad Baboy, which is also the name of an area in Pasig where the artist grew up and the title of the satirical comic strips by Pol Medina Jr., Dela Paz represents the “hogs of society,” those who amass riches while in a position, take advantage of the poor, and relish the old and rotten system that benefits them. Familiar to many, they proliferate everywhere: in the business sector, in religion, especially in politics.
Despite being well put-together and wearing a barong, these figures cannot conceal the stench of their personality. One acts like a royalty; another like a mechanized robot; and another like someone holier-than-thou. They are the ones who keep the transactional system in place where the haves abuse the have-nots. This is amplified by the piece, “An.ekwal,” in which the feet of the masses balance the world that the privileged occupy.
Dela Paz’s exhibition is audacious not only because it directly exposes the fragility of the national system, but because it also reflects the continuity of the business-as-usual: the bestowal of the crown on the corrupt, the flatulent, and the desensitized to the misery of the masses. With some of them back in power, Pugad Baboy has an urgent reminder: the chain has no lock and can be disengaged.
-Carlomar Arcangel Daoana
Cedrick Dela Paz (b. 1995)
Christian Cedrick Dela Paz is a young Filipino artist who was born in Kapasigan, Pasig City, Philippines. He studied Fine Arts Major in Visual Communication in Eulogio Amang Rodriguez Institute of Science and Technology, Manila (EARIST). He is one of the young promising artists emerging in the Art industry today.
Cedrick came from a family who loves to draw but his interest in the arts grew when he was in elementary where he joined a competition. Since then, he has been participating in Local and National Art competitions. In 2019, He was a recipient of a Special Citation in the Oil/Acrylic on Canvas category in the Metrobank Art and Design Excellence (MADE).
He considers his works as Unconventional Figurism Art. Dela Paz is fond of distorting human anatomy as a way of showing the emotions of his subjects. He believes that emotions can also be seen within body movements. His goal is to showcase Filipino culture and art to be appreciated by future generations through his works.