Zebv Diez

Ikot ng Buhay III

The final animation to this series reworks the idea of tradition. The notion of tradition is often framed in the past as pre-existing and continues to persist in the present. However, tradition itself is nonlinear by framing it in a way that offers tradition as a continual mode of production created in the present. It reshapes the concept of tradition, removing the western perspective on the narrative by subjecting the gaze away from western cultural norms.With this in mind, I used jewelry to portray this new concept of formed tradition. Jewelry is used as a means of self-ornamentation but, in this instance, is used to construct a new kind of tradition significant to myself. When thinking about my everyday life, I often think about my position in relation to the kind of community I have around me; the jewelry I 3D modelled are pieces I own and am handed down as heirlooms steaming from two different generations. When I think about what I want to pass down to commemorate my time on this earth, I think of jewelry—giving a piece of myself as a reminder and transforming my memory into the next generation.

“Ikot ng Buhay is a three-part animation that references an excerpt from Brown Skin White Minds. In this book, the author explains the value we place on material objects, highlighting how items imported from the west are often held in higher regard compared to those created in developing countries. Which are often seen as counterfeit or degraded in ways that carry the narrative of the long colonial legacy the Philippines suffered for more than 300 years. With this in mind, as the artist, I work with the idea of decentralizing the colonial gaze in relation to the objects I've created and placed in these spaces.Ikot ng Buhay's title is a sentence in Tagalog that translates to the Life Cycle. I use this title in relation to my work as each animation describes a different perspective with the materials chosen for my work. Although the work is nuanced with the research made while creating these animations, gold and pearls have a significant meaning to Filipino culture. The south sea pearl is our national gem, a wonder of nature from our tropical shores, while gold (the Philippines is the second-largest deposit in the world) embodies the Filipino spirit. Soft, malleable metal bending to external forces without breaking or cracking, changing its form yet retaining its natural properties. A symbol of our resilience and ability to adapt and assimilate while preserving cultural identity. These two are iconography that is repeated in my animations.While creating this body of work, I had an anti-colonial approach to futurism. The chosen digital medium and aesthetic choices alluded to the pseudo-psychedelic dream-like state in these animations. There's a sense of incoherency with the visual choices made in the playful and nonsensical work.The environmental choice to place these items in a church setting was intentional; churches insight a kind of response or inclination to be reverent or held with care and respect. By placing items in this environment, the objects themselves turn into relics to be worshipped and adored. Becoming a proxy for minorities in predominantly white spaces; however, in this case, it decentralizes the idea of othering by associating the material as a holy object. There's also the intention of using the church under the context of Spanish colonization, where Spaniards forced Christianity on the precolonial Filipinos. Since then, the catholic faith has become intertwined with the culture, echoing the long-standing legacy of colonialism. It's an interesting juxtaposition of how faith rooted in goodness was brought upon by violent means. What do "savage" items mean to exist in such a sacred place? Does it become sacrilegious, or does it mend itself or reshape the notion of importance or coexistence?”