The Garibays and the artistic legacy they strive to uphold

He remembers that people looked down on artists then. “I just committed myself entirely to it despite my situation—my wife and I were already expecting our second child,” he says.

But it didn’t take long for his works to gain critical acclaim. Although still focusing on traditional subjects, his early works evoked uniqueness over those of his contemporaries. “I was then drawing primarily from my experience, my interaction with my world as I was taking the jeepney going to and leaving from work, and more. I have always observed other people’s behaviours, which became the material for my first solo exhibition.”

What the acclaimed artist hopes to accomplish is for people to see how powerful ideas are, compel them to think more seriously about their condition and how such situations are reinforced, even fortified, by natural and manmade images.

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Manny and Edna’s children—Alee, Nina and Bam—also pursued artistic careers.

Alee earned a degree in fine arts from UP Diliman and received many awards for her oil and watercolour works. She is also an organiser, as she co-designs local art festivals in Cavite, Camarines Sur and Cagayan, as well as various art educational initiatives. Her earliest memory of her drawing was when she was just a toddler, sitting atop her maternal grandmother’s divan in their house in Biñan, unbothered by the sweeping of the floor as she was engrossed in doodling on a piece of bond paper.

Nina also graduated from UP Diliman with a degree in visual communication. She was a semifinalist in the Metrobank Art and Design Excellence Award 2018. Her work was selected for the Marciano Galang Acquisition Prize two years later. Being exposed to her father’s artistic career, Nina felt art flowed naturally without being forced to be profound.

Meanwhile, Bam finished interdisciplinary studies at the Ateneo de Manila University. Like his older siblings, he has participated in and helped organise several exhibitions inside and outside Metro Manila. He executed his first solo exhibition in 2019. It would have taken a while for him to re-enter the art scene were it not for Aida dela Peña of Kaida Contemporary Gallery. His hiatus was due to experiencing a “roller coaster ride, filled with ups and downs” after graduation and being exposed to the intricate dynamics of the art scene through a then-pioneering art start-up.

They may have taken a path similar to their father, but the younger generation is putting themselves on the map through diverse means. A manifestation of this is joining their father in his work in Linangan Art Residency, a programme they have set up in 2018 at their own home in Alfonso, Cavite.

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“Plan is the word, I would say, that was never part of my vocabulary. I look ahead and envision things and hope to persuade my children to be part of it,” Manny says.

Alee describes her art as rooted in her immediate and internal environment to re-experience, understand and refine her visual language and logic. Her father’s art influenced her, for Manny’s visual language and philosophy in life have been a constant and crucial presence in her art awakening and practice. Surrounded by nature in their residence, Alee’s works include natural elements. Meanwhile, text and scribbles are recurring elements as she has a distinct way of verbalising her feelings, thoughts and relationships.

Nina does oil paintings of magazine collages. She plays with compositions, visual elements and forms. As Manny responds to experiences, history and philosophy, Nina, on the other hand, responds to immediate visual prompts. One difference they may have in their processes would be that Nina seldom veers away from her studies (bocetos) as she envisions how the finished work would look beforehand.

Bam’s artistic creations predominantly take the form of figurative works, often realised through the oil medium. He derives inspiration from scenes in everyday life, individuals within his circle and other compelling figures. His visuals fuse memories recreated with the occasional touch of political satire. He shares this process with his father, with Bam’s colour palette sometimes a nod to Manny’s paintings. But the former invariably evolves towards his preference for vivid and striking hues.

Manny believes that being an artist allows one to be more reflective and to think more deeply about the connection between existence, ideas and a sense of fulfilment as a human being

Friends of the Garibay family found the family’s philosophy of educating artists about the discipline’s impact on personal growth worth sharing. And so, the family opened their lives, hearts and minds.

The mentorship aspect is most nourishing in the programme, says Alee, who does administrative, public relations and other writing tasks in the programme. She and her husband and fellow artist, Mike Delmo, spend most of their time with the residents of the programme.

“The access to this in-depth, intensive and empowering art education, especially to artists from the regions and those without formal training, is our attempt to democratise and enrich the art community,” says Alee. “We aim to cultivate a thinking culture among the new generation of artists and creatives, for whom criticality, informed discourse and openness to ideas are the new values.”

Meanwhile, Nina handles graphics layout and social media management and assists in streamlining the admin system. She reminds everyone that time and space are essential to their plans.

“We used to organise a sports fest for artists, not because there is a hidden athlete in every painter, but because it offers a different venue for interaction,” Nina shares. “Artists are people, and people learn from each other.”

Manny and Bam craft the grand scheme of things. The curriculum design and logistical aspects by Bam keep things and the place running smoothly. Manny acts as the chief mentor who facilitates art history and technique classes. He also conducts one-on-one consultations with the residents. Additionally, the family extends lecture invitations to Manny’s artist friends, such as Charlie Co, Mark Justiniani, Renato Habulan, Leslie de Chavez and Alfredo Esquillo, among others.

“Over the past decade, the Philippine art landscape has undergone a remarkable expansion in breadth and depth,” says Bam. “Yet, for aspiring artists who may still be navigating their path and purpose, this profusion can be somewhat overwhelming,” he adds. Bam finds Linangan‘s two-month artist residency programme as a “sanctuary, distancing participants from the urban hustle and endowing them with a tranquil studio space removed from the familiar. Here, artists have the luxury of refreshing their perspectives and delving deeper into self-discovery by engaging with co-residents and programme facilitators”.

Manny finds this blur between personal and business for the Garibay family ideal.

“Among others, you are looking at the continuation of something you have started. Also, you are looking at the dynamics wrestling with the differences in views, attitudes and outlook as influenced or affected by the gaps in generation and exposure in the arts,” Manny explains.

The vibrancy and dynamism of Linangan Art Residency are palpable, thanks to each family member’s creative input. Manny feels confident about the programme’s future and his children’s.

“In our society, artists wield a profound influence, shaping our culture, worldview, and perception of what holds significance in our lives,” says Bam. “That is why they must get the best kind of education they can have, which is mentorship from their more senior colleagues and contemporaries.”

“We’re doing this programme not because of the certainty of its success but more of being compelled to it because it is a project that makes a lot of sense. It is probably a way by which we collectively try explicating ourselves from a situation where there is a strong suggestion that what provides happiness to people is having a lot of things. What gratifies me about our situation is that we have very few needs. Not because of our financial capability but because we have learnt to simplify our values,” Manny says.

Resorting to more straightforward means of living and dedicating their resources to educating future generations of artists drive the Garibay family to spread this culture in the Philippine art scene.

“This situation—the boundaries between the personal and the communal have become blurred—is a major reason why there’s such a great amount of contentment within each of us,” Manny concludes.

Art matters

Reflecting on the mundanity of ordinary Filipino life to access esoteric themes, captivate emotions, and tackle social ills encapsulates Manny’s lauded artistic style. His creative expression leans towards social realism with a surrealist take on his figurations, creating immense magnitude in the Philippine contemporary art scene.

“Social realism is a lens through which one sees, understands, and envisions life and one’s role in it,” Alee says. “It lends a compassionate, empowering perspective concerning our humanity and society. Through this lens and the values it develops, we do what we do and live how we live. We strive to imbibe this the best we can and hope that our children will continue so.”

On the other hand, Nina does not see her artworks as a social realist. “But I think that is why I put much effort into our projects. I have given up pushing my works to reveal some socially relevant meaning. They just become contrived,” she says. “If ever I have children, I hope they get to do whatever they want in the field of their choice. If we’re pursuing cultural change, then it makes sense if they get to cover different areas aside from the fine arts. But they have to give their best and be constantly aware of their role in the larger scheme of things,” Nina concludes.

Working side-by-side with his father in facilitating artist-residents, Bam somehow reflected some of his father's characteristics in his artistic identity. But what compelled him to continue his commitment to social realism was a force bigger than Manny. It lies in the stark living conditions persisting within our nation that he is very much aware of.

“These realities permeate our daily lives, inundating us with images with potent narratives. By perpetuating these depictions, we spotlight the hardships endured by many, exerting pressure on policymakers to address and rectify these grievances,” Bam says.

But he understands that in an environment where such social issues remain so pronounced, it is difficult and imperative not to extend this legacy.

“It’s about fostering an environment of awareness and empathy. By sharing the significance of this art form with our children, we instil in them a sense of responsibility to advocate for change and amplify the voices of the marginalised through art,” Bam concludes.

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