Fibre artist Aze Ong’s ‘Kaloob’ explores spirituality in art that binds a community

“The process is meditative, Ong would sit for hours on end, manipulating her yarn until it forms into controlled explosions of colour and pattern,” recalls Placino. “The unpredictability of soft installation challenges the artists and viewers to embrace the pulse and knots embedded into them.”

Ong has been known for her crochet productions for more than a decade. When Art Fair Philippines had its first exhibition of the Projects section at the Ayala Triangle Gardens, her work became a centrepiece, inspiring others to continue stitching their life’s works and memories in every thread. Ateneo Art Gallery installed her collaborative work Portals with Ged Marino at Areté, which can still be viewed until April 19. One of her permanent installations can also be seen at Starbucks Hiraya in Tagaytay, which was inspired by the many flavours and aromatic notes of coffee.

Hence, she’s no longer surprised to see her work have its own life. For the past 15 years, Ong’s work reflects giving into the moment’s impulse, the feelings and struggles experienced, and the growth as a person and artist. She entrusted her artistic philosophy to Placino, having no expectations of how Kaloob would turn out, and eventually, the latter experienced the sense of ‘kaloob’ [inner goodness, providence, surrendering, etc] wholeheartedly.

“Labour comes into play as Ong works alone, without assistants, and without outsourcing the creative process,” explains Placino.

Being a medium often tied to the creative commodity, crochet has been considered a craft, arguably looked down upon by institutions and ideological state apparatuses that divide art between high and low. But this Ong tried to change when she entered the art scene, offering patrons, collectors, art educators, and mere aficionados a chance to value fibre as also an expressive medium of artistic expression and explore its experimental possibilities.

“Crochet is often relegated as women’s craft—to augment income or hobby. Beyond it are feminine expressions of self. Still embedded are women’s offerings of the self—as a child, partner, labourer, carer, and creator,” continues Placino.

While this may be true, the femininity in Ong’s Kaloob could be seen as one that recovers the feminine voice. Much can be discussed about the weaving industry today and the production of cotton, which are predominantly led by women. Ong attempts to bring this to light through her work and how she resonates with many artisans today, trying to breathe new life into these traditions.

Moreover, Ong is surrounded by a community that champions alternative means of well-being. But at its very core, spiritual health indeed correlates with physical wellness.

“The travails of the personal are situated within the realities of a still patriarchal society,” critiques Placino. “The expectations are often inextricable to the position of a woman artist, a strong resonance in Ong’s artistic position.”

As guests popped in and out from the exhibition’s opening until its very last day during Women’s Month, Kaloob welcomed symbolism and meanings woven into it.

“Kaloob is an offering that should be experienced and felt. Reaching out to the Divine Feminine, spirituality permeates within each thread, strengthening each cord. Ong’s journey continues, owning her solo work, yet hoping to form communities and connections,” concludes Placino.

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