Women’s stories told through their garments
By Ian Tee

Midpoint is a monthly series that invites established Southeast Asian contemporary artists to take stock of their career thus far, reflect upon generational shifts and consider the advantages and challenges of working in the present day. It is part of A&M Dialogues and builds upon the popular Fresh Faces series.

Marina Cruz (b. 1982, Philippines) is best known for her photo-realist paintings of garments worn by women in her family. Her practice is primarily concerned with the conflicting nature of the painted object and the often-invisible events behind it. By reinterpreting the meaning of materials from the past, she processes the relationship between history and the memories of people lived through those times. Marina has presented more than 30 solo exhibitions in the Philippines, Taiwan, Austria, France, Germany, Singapore, and the United States of America. Her works are held in the collections of institutions such as Taoyuan Museum of Fine Art, Antho-Life Art Foundation, Menarco Vertical Museum and Pinto Art Museum.

Marina Cruz’s 2008 Ateneo Art Award winning work, ‘Embroidered Landscape of my Mother’s Life – A Biography’ (2007). Image courtesy of the artist.

Looking back, could you share a decision or event that marked a significant turn/moment in your path as an artist?

First, the decision to go take the talent test back in 1999 to apply to become a Fine Arts Student in the University of the Philippines (UP) is significant. If I were not able to study in UP, I would probably be doing something else, I was already enrolled in a different college in a computer science course. Thankfully I passed the test, and studying there opened a lot of learnings and opportunities for me. I learnt so much, not only from teachers, but also from being a part of the community, from the libraries and from other students.

Second is choosing to be a full-time artist. The decision whether to become an art teacher or practise as a full-time artist was also vital to my path. I grew up in a family of educators. Both my maternal grandparents were teachers, as well as my mom and aunt and some of my cousins. I fulfilled my late grandmother’s wish to give the teaching profession a try. I did this while creating works for exhibitions and joining art competitions. That entailed a lot of juggling of tasks, and changing of hats. However, I needed to decide on one path since it was hard to do both at the same time. I chose the path of creation, my first love of making artworks. Many opportunities came after, such as getting an artist residency in the United States, winning the Philippine Art Awards and Ateneo Art Awards, etc.

Third is the decision to marry my husband, Rodel Tapaya, who is also an artist. He makes sure as an artist couple that we practise our craft and develop our own artistic voices. We have been friends since our college days, and we grew up making shows together. He is always supportive of me.

Marina Cruz, ‘Kambal’, 2005, exhibition view of her first solo exhibition at Boston Gallery, Manila. Image courtesy of the artist.

When have been milestone achievements for you as artists, and why have they been particularly memorable?

As a Fine Arts student, finishing my undergrad thesis in 2003 entitled ‘Reified Memory’ was a milestone for me. I am always thankful to be able to develop an idea and bring it to form. The goal is to pass the scrutiny of advisers and thesis panellists. I was not expecting to be given the award for the best thesis, but was simply working on not failing. I was a painting major but decided to make an installation work using sculptures and prints. It is not my comfort zone. However, I am glad it worked out well.

After my student days, as a young artist, I was able to mount my first solo exhibition after a few group shows.It was titled ‘Kambal (Twins)’ (2005) at Boston Gallery in Manila. The achievement is especially memorable since it was curated by the late Leo Abaya.

Travel opportunities to go on artist residencies outside the Philippines also widened my mind, and I was able to see different art presentations and develop my own practice. They include Vermont in the United States in 2008, which allowed me to visit New York, its museums and the Armory Show which happened at the time. In the same year, I also completed a residency at La Trobe Visual Arts Centre, in Bendigo, Australia.

The last is my first solo museum show abroad ‘Tide Table’ (2021), curated by Patrick D. Flores at Kuandu Museum of Fine Arts in Taipei. With the help of Andre Lee, Founder of Mind Set Art Center, we were able to mount an extensive solo exhibition of my works from 1999 to 2021. Even though it happened during the pandemic, the show was executed beautifully, and featured the various series of paintings, prints, fabric work and sculptures.

Marina’s studio, photo taken in 2024. Image courtesy of the artist.

Could you walk us through a typical work day, or a typical week? What routine do you follow to nourish yourself/your artistic practice?

My typical workdays are Tuesdays to Fridays. I am a morning person who usually wakes up at 5 am. After my routine of quiet time, journaling, and exercise, I have breakfast with my husband around 7am. Then, at 8am, we both leave the house and go to our separate studios. I will stay at mine to work until 12 noon.

We eat at home, since my husband is also back from his studio. If I want, I can go back to work in the studio after lunch or in the afternoon, depending on the tasks that need to be finished. If there are no immediate tasks I need to do, I spend the afternoon on our publishing projects, archiving tasks, reading, and other activities that are not strictly studio work, but more of research and planning.

At night, after having dinner with the kids, we discuss how the day went, discussing various topics or ideas for art, publishing or any topics that interest us. On Saturdays and Sundays, we spend time as a family. Monday is more relaxed too.

Marina’s home studio, photo taken in 2009. Image courtesy of the artist.

Could you describe your studio/ workspace? How has it evolved over the years? What do you enjoy about it, and what do you wish to improve?

It keeps on evolving from mixed spaces to specialised spaces. My husband and I used to have a shared space. I remember our house was on the ground floor and our art studios on the second floor. We were also raising young kids then. We had a simple privacy rule at the time, which was to wear earphones, if either one of us did not want to talk or to be disturbed.

Currently, we have separate studios. We also have designated spaces for archiving and publishing-related tasks. I like that we have separate spaces for creative exploration. I enjoy my solitary practice, and I can fully focus on the task at hand. I also find it important to have a home that does not house an art studio, so that it is a place to relax and be with family. In that way, I can reset and recharge for the next day.

Marina Cruz, ‘The Flood’, 2021, oil on canvas, 180 x 215cm. Image courtesy of the artist.

What has become easier or more difficult to do as time has gone by?

It is easier to look at my body of work and see the entirety of the universe I try to explore. When I was a young artist, this vantage view could be a challenge since I was still starting out, beginning experimenting with new things and discovering ways to express ideas. Because of the various works I have made from the 2o years of art practice, I can see the threads that bind my ideas and persuasions. The challenge now is to find ways to create works that will further strengthen the voice I am trying to bring forth; to find the voice or the DNA that makes it authentic; and to capitalise on that to create meaningful pieces.

Cover of Marina Cruz’s zine Notice to Public: Given Name (2024), published by ISTORYA STUDIOS. — Cover of Marina Cruz’s zine *Notice to Public: Given Name* (2024), published by ISTORYA STUDIOS.

Could you share more about ISTORYA STUDIOS?

My husband and I founded ISTORYA STUDIOS, INC, an artist-led independent publisher based in Guiguinto, Bulacan, Philippines. We hope to nurture a community of storytellers through printed matter, or publications.

It started with the name “ISTORYA” which was conceptualised in 2019 and conveys a desire for meaningful storytelling. Inspired by our kids’ projects during the COVID-19 pandemic, we found ourselves making card games (Patandaan and Sangandaan) geared towards making learning Philippine history fun. Our catalogue has since grown through thoughtfully fostered collaborations.

We publish books under the TAGPO Story Collection, which serves as a meeting place of creative minds. It currently consists of books created by esteemed artists-turned-authors: Rodel Tapaya’s Bayan ng Ginhaw: Ang Pabrika ng mga Maskara (The Factory of Masks) (2023); Doktor Karayom’s GRADE 3 (2024); my title Sandaang Damit (100 Dresses) (2024); and Archie Oclos’s mga walang pangalan pero andyan (those without names but are there) (2024). We aim to further diversify our roster of authors by working with storytellers to utilise any form they wish, and coming from any background.

Page spread of Marina Cruz’s book Sandaang Damit (2024), published by ISTORYA STUDIOS. — Page spread of Marina Cruz’s book *Sandaang Damit* (2024), published by ISTORYA STUDIOS.

Marina Cruz, ‘Un/Fold’, 2009, exhibition view at Ateneo Art Gallery, Quezon City, Philippines. Image courtesy of the artist.

Recently, you released a zine titled Notice To Public: Given Name (2024) as well as a book Sandaang Damit (2024). How would you describe your approach to the medium of artist books?

Sandaang Damit (100 Dresses) is my very first creative non-fiction book. It features my family history through a wardrobe or collection of 100 carefully selected dresses. This is part of my ongoing research and preservation efforts, which began back in 2009 as part of my solo exhibition ‘Un/Fold’ at Ateneo Art Gallery, after the artist residency in La Trobe Visual Arts Center in Bendigo, Australia.

This book is like the footnotes of my artworks, especially the ones inspired by garments. I featured stories of the women in my family who lived their lives in these garments. There is a photo of each item, and an accompanying anecdotal description based on the recollections of my mother, Elisa Cruz, and her twin sister, Laura Labrador.

Each article of clothing is assigned a number based on the chronology within each section. Separate chapters are dedicated to the different women who owned these garments, from Cruz’s grandmother Edilberta Rubio to her daughters: the twins with their matching pairs (complete and incomplete) as well as their separate attires, and their sisters, Sonia Walsh and Helen Reyes.

The histories are personal, and yet they invoke the wider society and the cultural zeitgeist. These garments speak of the lives of Filipino women from the 1950s to 1970s, capturing human invention and craftsmanship. Their stories are kept alive by the documentation of these impermanent materialities.

In the zine Notice To Public: Given Name (2024), I try to explore the unspoken narratives of an orphaned child, or a child who has yet to find his or her family. I collected published accounts from the public notices in the newspaper about these children who are in orphanages or institutional care. We often tend to take for granted that we have a family name as our affiliation to our genealogy. This small publication hopes to educate us that some people may not have that “given” (name) or are still in limbo of whether they can be affiliated with a family name in the future.

“The histories are personal, and yet they invoke the wider society and the cultural zeitgeist. These garments speak of the lives of Filipino women from the 1950s to 1970s, capturing human invention and craftsmanship.”

Marina Cruz, ‘When Sonia was Four (1958)’, 2017, oil on canvas, 261 x 191cm. Image courtesy of the artist.

What do you think has been or is your purpose?

As a visual artist, it would be nice to make art that has meaning. This may not be the primary motivation to create. I usually make works out of a strong desire to just do something; to be able to produce, to create, something that is inspiring, exciting, something expressive or challenging and makes me think and reflect. Most of the time, I get lost in the process, and I struggle along the way. It is problem-solving really, and somehow the work guides me back to the intention that I may not be conscious about. I love it when I know I am true to my voice and create works from which others can find meaning or inspiration.

However, if you ask me about my purpose, as a human being, I think it is to simply be a better human being: a good daughter to my parents, a good partner to my husband, a good mother to our kids, a good friend, a good person as part of a community that hopes to make the community better.

“ I usually make works out of a strong desire to just do something; to be able to produce, to create, something that is inspiring, exciting, something expressive or challenging and makes me think and reflect.”

Are there any upcoming exhibitions/ projects you wish to share?

I am excited to be developing a bronze sculpture with Gajah Gallery’s Yogyakarta Art Lab (YAL). I am also working on new paintings for presentations in Taiwan with Mind Set Art Center as well as a solo exhibition in 2025 in Manila with Silverlens.

As ISTORYA STUDIOS, we will be at Frankfurt Book Fair from 16 t0 20 October 2024 to showcase some of our titles in the Publishers Rights Centre. We are also excited to present the newest addition to our Tagpo Story collection: Book of Birman by Roxlee, who is an experimental filmmaker.

And finally, what would be a key piece of advice to young art practitioners? What has been a way of working, a certain kind of attitude, they can learn from to apply to their own careers?

“Constantly feed your mind with experiences and learnings and it will enrich your art practice. Keep on creating whether through works or words.”

This advice is what I keep reminding myself too.

This interview has been edited.