“It’s okay as long as I did not experience it.

” That is the common perception of people

about Martial Law. People see it as the golden age- large and grandiose buildings and
infrastructures covering up the barren land of corruption, human- rights violations, and
thousands of death behind it. Among those covered and forgotten are the lives of those who
disappeared. Toym Imao’s artwork reminds us that history left a hole in the lives of people but
also allowed us to see through this hole and be reminded of the importance of those lives. Art,
in general, gives us not only a preview of the past but also a reflection of the present.

Imao’s “Desaparecidos” is a sculptural installation made way back 2015 but was
exhibited again at the lobby of Palma Hall in UP Diliman during the commemoration of Martial
Law last September 30, 2018. The artwork is a metaphorical representation of a lot of elements
relating to martial law but the figures primarily represent those who got left behind by the ones
who disappeared during Martial Law. There are a total of 43 figures in the installation,
representing 43 years (in September 2015, the first exhibition of the installation) after the
declaration of Martial Law (Jorge, 2017). These figures are composed of different types of
people from all ages and profession, standing on different levels of pillars; this can be
interpreted as to how the artist wanted to represent that the victims, as well as the loved ones
they left behind, come from different classes and ages, thus, anyone can be a victim or have
been a victim and just goes to show how cruel and unjust it had been for them.

Another visible element in the artwork is the box-shaped frame the figures are carrying
which reminds me of “lapida”; the black ribbon placed on top of it also connotes grief they are
carrying with them. According to the artist, these frames were inspired by concerned
individuals holding up pictures of their lost loved ones during rallies, especially on the
International Day of the Disappeared. He also added that the holes in the frames is a
visual representation of the disappearances, a symbol similar to the recesses in
morgues, and a metaphor for the empty feeling for those who lost their loved
ones(Imao, 2017 as stated in Jorge, 2017). Similar to
Marina Abramović’s
art, Imao let his viewers enter the image and be part of the art, giving them a place to
stand. For me, this can be the same as “putting yourself in the shoes of others”, a
phrase timely for checking your privilege of not having to experience this tragedy
yourself. It allows you to see other people’s faces on the background fitting in those
frames and makes you question are those who lost their lives more than 40 years ago
the only victims of martial law or are we also victims of the after effects of it? Are we
victims of the historical revisionism currently happening in our country?

Other elements such as color, emotions on the figures, and the location of the artwork
help convey the message the artist wants to deliver. The sculptures are left unpainted and grey
in color. The absence of color in the installation gave me a feeling of emptiness, grim, and grief.
The same kind of feeling was evoked when I took a closer look at the faces of the figures. The
artist made used of “impressionism” to make the emotions realistic, as seen in elements of the
artwork such as the creases in their foreheads, the grim expressions that they make. Looking at
them for a long time makes me feel that I am looking eye-to-eye with the actual loved ones of
these victims and trigger a sense of guilt and awakening within me; it is like whispering to me
that I need to wake up to the truth that it isn’t okay even if I did not experience it. This
awakening is exactly what we need in this current world trying to forget what happened in the
past. For me, the placement of the artwork in the middle of the busy environment is also
strategic. Everyday, hundreds of students pass by the lobby, and the artwork stands still in the
middle of the crowd; history blending in the reality of people passing by. I think it represents
how we have the choice to take a look or ignore the artwork, or history in general.

It amazes me that this artwork, made three years ago, is still as impactful as ever; and I
think it will always be. That is the beauty of art for me, that it can be made from a different
story, from a different time but you can make another story from it, just based on your
interpretation, you can make it your own story. The martial law may have happened 47 years
ago but you are still part of the story so don’t ever think that it’s ok that you never got to
experience it, because in reality, you have.

Jorge, R. (July 18, 2017) http://adobomagazine.com/magazine/designing-conscience-sculptor-

toym-de-leon-imao-reveals-how-design-memorials-era-historical

Designing Conscience: sculptor Toym de Leon

Imao reveals how to design memorials in the era
of historical revisionism