GALLERY: NASSER ZULUETA & TOMRUSS “TRANSFORMATIKA” @ALTROMONDO CREATIVE SPACE

Each creation is a glimpse of an artist’s life. Each stroke sheds a part of his soul laid bare before us and his development is the testimony of a transcended difficult journey.

Nasser Zulueta’s art reveals some turning points in his life that ushered his growth as an artist. Traversing the world alone at an early age and meeting many strangers has influenced his technique and style—varied, spontaneous, and bold. He has lived many lives and using a single medium is never enough to tell his story. Look closely and you will discover order in chaos, light in darkness, and beauty in hideousness. 

TomRuss’s artworks take us to a colorful journey down south. His art is highly influenced by his advocacy and his encounters with the Tri-People of Mindanao (Christian, Muslims, and Lumads). Living and walking among them gave him a different perspective and anchored his artistic and personal transformation. Displacement, solitude, struggles, and injustices are central themes of his works.

ARTISTS’ NOTE

TomRuss

The 3D wall-bound sculptural pieces are my exposition of the plight of three different tribes in Mindanao. “Waiting Still” is my decry for the long overdue rebuilding of Marawi City. I deconstructed the sarimanok, a Meranaw cultural symbol, into geometric shape letters baring the city’s name and its vibrant colors.

The “Kanak Ha Banuwa” (My Home) piece is an ode to my hometown, Bukidnon. I deconstructed the headdress design of the Higaonons of Bukidnon into uneven slopes representing the mountainous terrain of the province. I also combined different patterns usually seen in necklaces, bracelets, and anklets of the Lumads. This is my outcry on the constant land grabbing, harassment, and killings of Lumads in Bukidnon.

The third piece “No Country for Teduray” is dedicated to the hundreds Teduray-Lambangian families of South Upi, Maguindanao who were recently displaced from their ancestral land due to arm conflict. Added to that is their exclusion and alienation in the policymaking of BARMM being a minority and a non-Muslim tribe in the region. The pattern used is one of the designs of their weaving tradition, monom. The dirty and rusty color symbolizes neglect and destitution.

The use of mirror glasses is representation of bodies of water—lake, river, waterfalls, and seas, that are essential part of the lives of the indigenous peoples of Mindanao. The 3D Wall-bound sculptural style reimagines cultures in pop and contemporary way but keeping their identity as peoples.

Nasser Zulueta

In this exhibition, my narratives are told in three different techniques. My work “Manlalakbay” shows my difficult journey in intricate fine lines. These worn-out shoes are the testament of how I persevered despite the hardships and failures on the road.

Vigil, on the other hand, is a piece I made during the pandemic. It’s a social commentary on what was happening at the time, when our voices are silenced, and our rights are curtailed. By deconstructing and reconstructing the image, I was able to create a puzzle-like art and each square was painted meticulously. Like our status quo, this piece is quite baffling, but once you pay attention and be more vigilant, the real picture will reveal itself.

The artwork “Stillness 2” is a depiction of how I cope with the stress and the surrounding noises. By combining fine lines and scribbling technique, I was able to create an impression that many can relate to. More often in life we find ourselves in between highs and lows. But despite being in a precarious position, one should remain still to breathe and to contemplate before taking any further steps.