Job Van Yap
3 ft x 2.5 ft
July 2020 ushered in a new set of administration in Cebu City, gracing thousands of which supported the electoral victor with positions in government offices. Consequently, long-serving employees of the same number were swept out of their jobs to make way for the newcomers. The complete and utter disregard for key points in rendering services for a particular position as an exchange for electoral support is perpetuated by patronage politics. This permeates the democratic system in the Philippines and will certainly undermine the political maturity of the country when completely overlooked. This artwork seeks to speculate the American colonial legacy in the context of the Transportation Management System of Cebu City by investigating the eternal and vital fusion and fission between the idea that collectivist culture binds Filipinos socially and tear them politically. The visage of the specific process executed on this work overlays over two different visual discourses. Each of these derives its material from the remains of one after another. An illustration depicting a group of men lifting a nipa house, confining the seemingly perplexed expression of an image of Jesus Christ, envelops the first visual discourse, in the farthest back. This founds the second artwork, physically and metaphorically. The second features a portrait of a person. Once again, this provides the material of the last painting which boldly confronts the audience. It attempts to borrow the idea underlying the relativistic nature of the Petrine Cross, and the view of Stephen Jay Gould on science and religion.