Continued from Tony Perez's Electronic Diary (May 15 - October 19, 2018) at tonyperezphilippinescyberspacebook40.blogspot.com.

At Highest Point, Kiangan, Benguet

At Highest Point, Kiangan, Benguet
2013, at Highest Point, Kiangan, Benguet, during the conservation project for the Kabayan Mummy Caves. Funded by the Ambassador's Fund for Cultural Preservation, the National Commission for Culture and the Arts, and the National Museum of the Philippines. Photo by JR Dalisay

Saturday, November 24, 2018


Saint Louis
Oil on cradled canvas
4’ x 4’
October 30 – November 24, 2018.

This portrait of Saint Louis (pronounced by Father Richard as "LEW-iss" rather than "LEW-ee", as I habitually pronounce the name) features a youth gazing on a cross of pine twigs. In the background are pieces of fabric made of hand-woven Igorot cloth. Instead of the white Easter lilies traditionally associated with Aloysius Gonzaga is a garland of everlasting flowers. The surplice also bears a strawberry design.

The spears behind the youth represent the four, Saint Louis educational institutions owned and operated by CICM: Saint Louis University in Baguio, University of Saint Louis in Tuguegarao, Saint Louis College in La Union, and Saint Louis College in Cebu.

In this rendition, the youth are called to give up their warrior’s loincloths and contemplate the cross, at the same time being true to their ethnicity.

I am told that Dr. Agnes Brazal, my former professor in Systematic Theology, conducted research on the matter of "Saint Louis" (a Jesuit saint, not a CICM saint) and concluded that the saint in question is actually Saint Louise de Marillac. Other than that Saint Louise was French, however, I could find no further connection between her and the congregation.

This was all I listened to while making the painting:
















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