Jason Dy, SJ
Manila, Philippines
Jason Dy, SJ
Be a Tree Anotong
performance, 2020
During these days, I'm doing a performance of holding branches of trees and covering my face. It's entitled "I am Tree." It's an attempt to be closer to nature. This is informed by the German poet Hermann Hesse and his ideas of trees as sanctuaries. This is perhaps a personal atonement or at-one-ment with nature. This performance is documented via photographs and posted online via FB page as a profile picture.
I'm interested to propose this performance because of your curatorial brief to engage the pandemic with a kind of masks that does not only cover the exterior but uncover the interior.
Jason Dy, SJ (b. 1977, Philippines)
Dy is a Jesuit priest and Filipino contemporary artist who is currently lecturing at the Fine Arts Department of the Ateneo de Manila University, Quezon City. He is a self-taught artist who developed his artistic interests by attending art workshops, art classes, art conferences and art exhibitions as well as integrating art into his studies in theology and his pastoral ministry. In 2013, after being a parochial vicar at Sacred Heart Parish, Cebu City and holding his solo exhibition Testimony of What Remains at the Fernando Amorsolo Gallery, Cultural Center of the Philippines, he pursued his graduate studies in the arts, namely, MA by Creative Practice and MA in Art History and Curating at Liverpool Hope University, UK. Through his graduate studies, he is able to articulate his current creative practice that investigates into “the community and studio-based responses to changing religious and cultural circumstances, locations and events” (LHU).
Some of his important art projects include In Loving Memory, a participatory art ritual of remembering the dead that started during the All Souls’ Day at the Sacred Heart Parish, Cebu City, PH in 2009 and was included in the contemporary Christian art exhibition Arte + Fe curated by Maria Tarruella at the Pons Fundacion, Madrid, Spain (2011); Through the Valley of the Shadow of Death, a graduate thesis exhibition at the Liverpool Hope University, Liverpool, UK that essayed on death, mourning, and remembrance in loving memory of his father (2014); Kanlungan ng Awa (Sanctuary of Mercy), an immersive installation of an altar of repose with four interrelated components of a makeshift chapel from its altar, ceiling, carpet flooring, to its stations of the cross in partnership with the Kristong Hari Parish, Commonwealth, PH in 2016 and was part of a two-man show New Order curated by Ricky Francisco at the Lopez Museum, PH (2017); Barter, an art project that reacted to the 2016 Kidapawan Protest seeking rice subsidy from the government rather than the violent treatment of farmers as well as appropriating the traditional mode of exchange through the barter system to reflect on the various exchanges that is happening in Lucban, Quezon, PH in collaboration with Barangay Piis, Lucban at the Project Space Pilipinas (2016); and Procesion de los Camareros in response of Japanese invasion in 8 December 1941 on the day of an important Marian procession in Intramuros during the Spanish colonial period was a commissioned art project of the first Manila Biennale Open City curated by Ringo Bunoan with the participation of the fifteen pedicab drivers from Barangay 655, Intramuros, Manila, PH (2017-2018).
I'm interested to propose this performance because of your curatorial brief to engage the pandemic with a kind of masks that does not only cover the exterior but uncover the interior.
Jason Dy, SJ (b. 1977, Philippines)
Dy is a Jesuit priest and Filipino contemporary artist who is currently lecturing at the Fine Arts Department of the Ateneo de Manila University, Quezon City. He is a self-taught artist who developed his artistic interests by attending art workshops, art classes, art conferences and art exhibitions as well as integrating art into his studies in theology and his pastoral ministry. In 2013, after being a parochial vicar at Sacred Heart Parish, Cebu City and holding his solo exhibition Testimony of What Remains at the Fernando Amorsolo Gallery, Cultural Center of the Philippines, he pursued his graduate studies in the arts, namely, MA by Creative Practice and MA in Art History and Curating at Liverpool Hope University, UK. Through his graduate studies, he is able to articulate his current creative practice that investigates into “the community and studio-based responses to changing religious and cultural circumstances, locations and events” (LHU).
Some of his important art projects include In Loving Memory, a participatory art ritual of remembering the dead that started during the All Souls’ Day at the Sacred Heart Parish, Cebu City, PH in 2009 and was included in the contemporary Christian art exhibition Arte + Fe curated by Maria Tarruella at the Pons Fundacion, Madrid, Spain (2011); Through the Valley of the Shadow of Death, a graduate thesis exhibition at the Liverpool Hope University, Liverpool, UK that essayed on death, mourning, and remembrance in loving memory of his father (2014); Kanlungan ng Awa (Sanctuary of Mercy), an immersive installation of an altar of repose with four interrelated components of a makeshift chapel from its altar, ceiling, carpet flooring, to its stations of the cross in partnership with the Kristong Hari Parish, Commonwealth, PH in 2016 and was part of a two-man show New Order curated by Ricky Francisco at the Lopez Museum, PH (2017); Barter, an art project that reacted to the 2016 Kidapawan Protest seeking rice subsidy from the government rather than the violent treatment of farmers as well as appropriating the traditional mode of exchange through the barter system to reflect on the various exchanges that is happening in Lucban, Quezon, PH in collaboration with Barangay Piis, Lucban at the Project Space Pilipinas (2016); and Procesion de los Camareros in response of Japanese invasion in 8 December 1941 on the day of an important Marian procession in Intramuros during the Spanish colonial period was a commissioned art project of the first Manila Biennale Open City curated by Ringo Bunoan with the participation of the fifteen pedicab drivers from Barangay 655, Intramuros, Manila, PH (2017-2018).
Be a Tree Bamboo (2020)
Be a Tree Banaba (2020)
Be a Tree Flame Tree (2020)
Be a Tree Golden Showers (2020)
Be a Tree Banana (2020)
Be a Tree Kalachuchi (2020)
Be a Tree Octopus (2020)
projectspacepilipinas.blogspot.com