By John Cairns

The writer formerly worked as executive editor of Arts of Asia magazine.

TSIM SHA TSUI, Hong Kong – No kidding! In terms of artistic talent, the Philippines towers among the world's wealthiest nations. When Filipino artists migrate overseas, they contribute to the art scenes there too.

Filipino visual artists living in Hong Kong easily prove the point in Haraya 2, their second annual exhibition of contemporary art at the Hong Kong Cultural Centre. “Haraya” is a Tagalog word meaning “imagination”.

The exhibition has dozens of creations by 14 artists on themes such as human emotion, natural splendor and environmental danger. It continues until September 17.

“We aim to promote Filipino art and culture…,” said 60-year-old artist Bobit Segismundo, the event chairman. “You wouldn't believe how many artists we have in the Philippines. There's so much artistic talent because we were deprived of other economic opportunities…. With pride, I believe that Filipino artists should be the next in line for world popularity.”

Another artist, Jun Cambel, age 48, agrees. “The art scene in Manila's much more active than in Hong Kong,” he said. “When it comes to art, Filipinos have wide experiences. We like to explore, travel, read and study widely…. But although we're talented people, artists don't receive much support from the government of the Philippines, especially in terms of avenues or proper venues.”

Filipino art created in Hong Kong shows unique traits. “There's a big difference in our projections of how we live in Hong Kong compared to Filipino artists back home,” Bobit said. “Styles, approaches and quality may be similar, but the emotions and topic variety are very different. Manila looks more colorful in terms of problems, weaknesses and failures. Artists back home speak their minds in their works. In Hong Kong, we try to show our emotions and how we cope with Hong Kong's lifestyle, which is much better than the one back home.

“In general, art is a struggle. Everyone knows that. Even the greatest past masters needed to struggle. In Hong Kong, the struggle is about how to promote our art, which is different from that of local Hong Kong artists who are more traditional, mindful of Chinese culture and influenced by the mainland.”

Most of the Filipino artists maintain “day jobs”. Jun works as an art director. Bobit teaches art and design.

“For us, art comes down to expression,” Jun said. “We need to express ourselves.”

In one creation, artist Joel Ferraris shows images of people using hi-tech devices, like laptops or mobile phones, inside plastic bubbles linked by wire-like strands. Titled Pry Buzz See, this artwork suggests that modern communications lead to individual isolation.

Some works have three-dimensional aspects. For example, Bobit glued silk flowers into his 2009 creation, The Colorful World of Katrina on a Pedestal in the Midst of Loneliness.

Jun addresses environmental issues. In a memorable creation, How Dare You, he portrays a tree wearing a gas mask in a toxic-looking orange setting. “Even the trees are complaining,” he said.

Meanwhile, his 2005 creation, Licensed to Kill, depicts cigarette butts and spent matches, a reflection of public-health concerns and a personal struggle to stop smoking. “I'm trying to quit,” he said. “When I worked in advertising in Manila, I smoked a lot. Now I'm minimizing to almost none. It's a shame, but I'm one of the victims of the tobacco industry.”

A young artist shows impressive creativity. Frances Segismundo, Bobit's 17-year-old daughter, projected her graffiti art onto human bodies and then photographed it for a tattooed effect.

“If art runs in someone’s blood, you can't stop that person from being an artist,” Bobit said. “In Hong Kong, too many parents try. Whatever else Hong Kong is, it's always a business city first. Anything about art or music comes second or third.

“In the Philippines, it's much different. There, although artists may be poor, they still find ways to do the work they want.”

For more information: www.haraya.info


Asian Mousetrap, by Joel Ferraris, 2006.



The Perfectly Balanced Act, by Ben Guia, 2010.



The Sound of Silence, by Manuel Rubio, 2010.



Torn Between Dreams and Reality,
by Charito Helgason, 2010.



Bobit Segismundo examines his own work,
The Colorful World of Katrina on a Pedestal
in the Midst of Loneliness, 2010.



Dada's Landscape, Year 2030,
by Bobit Segismundo, 2010.



Leahcim, Kcaj, Nimajneb,
by Frances Segismundo, 2010.



Into the Haze, by Edgar Tapan, 2010.


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