The Varsitarian

THIRTEEN Artists Awardee Raoul Ignacio “Iggy” Rodriguez emphasized how art can both be beautiful and politically relevant with the launch of his first solo exhibit last November 10 at the Blanc compound, Mandaluyong.

Titled “Kimi Imik,” Rodriguez showcased his mutiny against the so-called “industrial superpowers” and the widespread corruption in the Philippines through oil paintings and pen-and-ink along the social realist style.

“This exhibit is basically a conglomeration of typical human dramas. The paintings reflect the situation of contemporary Filipinos undermined by various social problems,” Rodriguez said.

An alumnus of the old College of Architecture and Fine Arts and a member of the artists’ group Ugat Lahi, a social realist group, Rodriguez has participated in protest movements and cultural activities. By immersing himself with the poor, Rodriguez has formed a clear picture of the diminished life of the poor and has found a way to depict the grievances of the marginalized.

“Art is not just about ideas, it can also be utilized by an individual or even an entire community to creatively express themselves,” Rodriguez said. “I am able to send my messages faster and clearer if I summarize them on canvas.”

Rodriguez also stressed the power of the visual arts in communication, since, “people communicate through images,” he said.

“Visuals are all-embracing,” he added.

The 10 paintings show the themes of terror and desperation of the poor.

For example, in “Ina Api,” which is Kimi Imik’s most important piece, Rodriguez alters the iconic image of the Madonna and Child by transforming her body into mechanical gears with elephantine arms, while her child is nailed to her rosary, a shocking depiction of a mother succumbing to the world of manly labor in order to support her child.

The same can be observed in “La Sagrada Familia,” wherein the artist emphasized the austerity in a picture of an oppressed family by surrounding the picture with a mix of dark hues such as grey, brown, and flesh.

On the other hand, “Pagbabanta” stands out from the rest of the paintings as it gives a sign of hope, portraying an malnourished man in a defiant pose.