A CONVERSATION with GERALDINE JAVIER
As a respected figure in the Philippine contemporary art scene, she’s most known for tackling environmental themes through her mixed media work. From metalwork, to painting, and to adorning textiles with her embroidery, her materials come alive with complex detail—a testament to her reverence for nature and its caretakers.
Nature becomes both the subject and the medium in the eco-printed textiles she has created for the Earthbound II collection. In this interview with Idyllic Summers, she shares wisdom she has learned from refining her eco-printing craft:
01
Tell me about your formative years as an artist. Where did it all start for you?
Napunta ako sa nursing kasi ‘yun yung gusto ng parents, especially ng mother ko, kasi iyon yung may sigurado akong trabaho. Pero, first year pa lang ng nursing alam ko na hindi para sa akin iyon. Gusto ko na talagang mag arts. So eventually, nag compromise kami. Tinapos ko yung nursing, tapos napunta na ako sa Fine Arts.
At the time, may frustration ako kasi feeling ko parang akong animal na naka-cage sa studio ko. May bahay naman kami sa Manila, pero ang liit ng garden so parang talagang yung mga painting ko, dark. Dati nag-iincorporate na ako ng nature images, pero very dark pa rin yung dating; very morbid pa rin. Baka kasi siguro nag-iinternalize ako masyado ng mga frustration ko, tapos yung tingin ko sa Manila noon is... Manila is a dead city. So, naapektuhan ang trabaho ko.
Ang naging goal ko talaga noon is makaipon ako at humanap ako ng lilipatan outside of Manila talaga. Gusto ko mag farming, mag gardening, at the same time, matuloy ko pa rin yung practice ko. So noong lumipat ako [dito sa Batangas noong 2014], hindi naman siya talagang parang nakahanap na ako ng Eden. Ang dami ko ring na-encounter pa na problems—like, hindi naman ako talagang farmer, may konti akong alam sa gardening, pero sa farming wala masyado. So parang continuous learning siya para sa akin.
Tapos ‘yung art practice ko rin, nagbago dito. In terms of yung mood, parang nag open up. Kung dati parang kawawa, pero now more on mas na-balance ko na siguro. Nandyan pa rin ‘yung topic na mga gusto ko noon tulad ng death at decay. Pero ngayon meron nang positive aspect kasi parang na-expand na rin yung aking environment. Kumbaga nakahinga na rin ako.
02
While doing work for your solo exhibition, “Five Gardens” (2021), you did mention that upon moving here to your farm in Batangas, you had a fear of losing your “edge” as an artist as you were making your work more about nature. Is there that fear still?
Kalimitan ang problema kapag sinasabi beautiful ang isang work, parang nakakaumay siya. Very concerning sa akin as an artist noon yung beautiful. Pero ngayon, pwede mo palalimin ang “beautiful” depende kung paano mo siya i-approach, kung paano mo siya i-present na hindi as beautiful painting or installation lang, pero mayroon itong story behind it. So parang importante sa akin yung stories kung bakit na produce iyon.
Kasi ngayon pag sinabi mong beautiful, ito ay dahil may nararamdaman ka rin. May deep feelings ka doon sa work or sa installation, naka-relate ka kaya masasabi mong beautiful. So parang hindi pala siyang adjective na mababaw lang pero mas malalim na ang ibig sabihin ng beautiful para sa akin ngayon.
Images from Art Asia Pacific
03
Can you talk more about how clothing was used as a medium for the messages you wanted to share for Earthbound I and II?
Pagkapanganak natin, damit ang concern diba—kung paano tayo ibabalot. Parang nandun na [yung connection] kapag kung tayo rin mismo ‘yung nagp-print sa damit natin. Nagkakaroon agad ng bond.
Earthbound I
Marionne Contreras, Steffi Cua, and Geraldine Javier
Images from MO Space Gallery
Marionne Contreras, Steffi Cua, and Geraldine Javier
Images from MO Space Gallery
04
How has farming and gardening work given you more optimism for the future?
Kapag nag-doomscrolling ka lang, wala kang nagagawa para makatulong. Pero kung magtanim ka, kahit na mag alaga ka lang siguro ng halaman, at least diba may ninu-nurture ka? So yung nurturing part, ‘yun yung nakakapagbigay sayo ng hope, na kung dadami kayong matututo mag nurture at mag connect, edi nakakatulong kayo at napapag-usapan niyo ‘yung climate crisis.
05
What do you think is your purpose as an artist? What lies at the core of your work?
Parang nabbridge niya yung gap between the artist and the audience kasi may mga pa-workshop siya. So talaga ‘yun yung community na hatak niya talaga. Tapos ang kultura nila, nah-highlight din because of yung exhibitions nila at ng mga artist na inintroduce niya sa community. So parang nagkakaroon ng exchange .
So although may mga nakakatulong ako from my community na makatrabaho ko, parang iba pa rin talaga yung ginagawa ni Leslie because of his taste. So eventually, gusto ko siguro pumunta doon—na pareho yung mutual yung enrichment in terms of yung personal practice ko at yung contribution to the community.
06
Can you share some pieces of wisdom you’ve learned from tending to your own garden?
Ang hirap din talaga once pumasok yung tao sa environment, may masisira at masisira. Fertile talaga ang lupa dito [sa farm namin], pero mas magiging fertile siguro sila kung wala kami. So parang kailangan matuto ka ng respeto. Huwag mo na i-control kasi hindi mo talaga maccontrol.
07
What is fashion to you?
Interview by Patricia Villoria