Magayon retold: Bicolana artists reclaim women’s narratives through vibrant, defiant hues
ALBAY, Philippines – Bicols’s most revered legend about Mayon Volcano is about a maiden called Magayon, a name rooted in a Bikolnon word that means beautiful.
For so long, the story has been told through a patriarchal lens, portraying women as accessories of beauty who, in the legend’s portrayal, needed strong men to rescue them — a common theme that suggests women’s expected submission to men for survival.
This classic tale reflects society’s imposed standards that excessively tie women’s worth to confined measurements of beauty. Tired of this norm, Bicolana artists, with their defiant hues, are now reclaiming the narratives of modern-day Magayons through the Artmosis Exhibit.
Bold strokes
The four-woman art display at Kapihan, Legazpi City, blends diverse artistic styles — from CJ Yuson Llorca’s magical realism to Danica Dionne Ortega’s abstract expressions — while also celebrating the empowered journeys of artistic uprisings against gender and art norms of Jenica Ariane and Jarey Almoguerra.
“Through their art, these women bravely — true to the Bikolnon oragon spirit — reveal their self-perception, aspirations, and the struggles they faced, proving that modern Bicolanas are powerful forces in art,” said Dennis Concepcion, Artmosis curator and president of ArtLiftPH-Bicol.
“I urged them to continue showcasing their talent so they can inspire a new generation of Bicolana artists to discover their voices.”
For Concepcion, art can be a powerful weapon to amplify the voices of those who wield it. According to him, the bold strokes and resolute palettes of the featured artists not only painted a story; they challenged how art is valued and how women artists are perceived.
He added, “Art becomes a voice, a conduit for desires and dreams. But for these women — Siji, Bani, Ahri, and Dionesia — their distinct styles forge an identity that will resonate far beyond Bicol, echoing through generations of women.”
Liberating women
Inspiring the liberation of generations of women is also what Llorca aspires to do with her art. She shared that, like Magayon’s tragic ending, she was confined by a very traumatic experience that made her 2015 to 2018 very dark and gloomy.
Llorca continued, “Art had been my only real company back then — my unpaid therapist — and now that I’m healed, I want to paint uplifting and inspiring pieces for those who are also in need. That is why I aspire to join more platforms this year moving forward so my art can be a beacon of light.”
Feeling liberated by art, she now produces magically-themed and vibrant color pieces that honor the little kid inside her who first ventured into painting in 2013 and for the people who need an extra reminder of how beautiful life can be amidst dark days.
“I got a feeling that the meaning behind my art and the journey I’ve been on as an artist is to see the higher purpose of this craft — and that is, by realizing that I am painting not only to express myself but also to uplift people in their gloomy days,” Llorca said.
Like Llorca, Ariane was always fascinated by the magical worlds depicted in movies and storybooks, such as James and the Giant Peach and Studio Ghibli films. She said that this fascination set her on a path in the creative industry, a journey filled with trials and tribulations.
“As I grew older, I experimented with various art forms, from watercolors to digital art. It was a trial-and-error process, but I enjoyed discovering what worked for me. However, life intervened, and I found myself working long hours with little time for art,” Ariane said.
For her, the long hours spent finding her niche were the best investment she made in her well-being. This led her to develop a style that infuses profound emotions and meaningful stories.
She added, “I made a conscious decision to prioritize my well-being and dedicate time to art. Discovering the works of Yoshitomo Nara, Aya Takano, and Chizu Wada, and their use of color, composition, and emotion resonated deeply with me, inspiring me to push the boundaries of my own creativity.”
Blending art with love
Ortega, a licensed pharmacist-turned-artist, is also using her craft to bridge the medical field and the healing power of art. According to her, while these two fields are often perceived as distanced, she can leverage her expertise both in providing health services and in creating art that soothes the heart.
“I thought I was going to be a doctor, so I enrolled in a pharmacy course. I never regretted attending that school because I learned so much about medicine, and I was able to help people when they needed information about it,” Ortega admitted.
Both Ariane and Ortega have discovered that painting is more than just a canvas decorated with acrylics; it is a vessel for love and the other emotions that define our humanity.
Almoguerra, mirroring Ariane and Ortega’s defiance against the “art can’t feed you” notion, bridges artistry with her culinary passion. She argues that art nourishes beyond sustenance, engaging multiple senses, drawing from her experience in the food industry.
She recalled, “I pursued my passion for cooking, where I expressed myself through the colors, textures, and compositions of dishes. Though I faced burnout in the food industry, I realized that life is about finding something worth fighting for — creativity in various forms, whether through art, food, or language.”
Almoguerra showcases artworks about food and language, embodying her freedom from limiting artistic norms. This defiance is a shared trait among the artists of the Artmosis Exhibit, who are collectively challenging the traditional narrative of women in art.
Altogether, they raise a new era for women artists in Bicol, a powerful testament to their agency. They craft their vibrant legends, independent of Magayon’s fate and without needing any Panganuron or Pagtuga, proving that Bicolana artists are rewriting their own stories on their own terms. – Rappler.com