migrant communities around the world. Yet these transnational communities have been
mainly quiet in their host countries, a testament to the imbalance of power these immigrants
feel and evidence that remnants of colonialism remain. Although
the largest Filipino community in
Canada 2001), the community’s visual presence on the landscape is scattered.
In this series,
I have attempted to show the subtle imprints of Filipino-Canadians
in Toronto, highlighting aspects of Philippine culture that have been diffused, morphed
or have remained intact in the integration process of the community to Toronto.
In the creation of this body of work, I have used images of Philippine storefronts,
housing communities, newspaper circulations, and advertising. My artistic process
involved the collection, appropriation, deconstruction and digital reconstruction of
these images and represents an exploration of the Philippine diaspora.
include artist Ken Lum, who has explored themes of displaced identity
“Shopkeeper Series” where he juxtaposes portraits of visual minorities with commercialized
slogans and signs. Similarly I have appropriated images of storefronts and local advertisements
available in the
Manuel Ocampo’s use of transgressive Philippine iconography has
for me the need to make the invisible community more visible through the use of symbolism.
Where Ocampo used icons that referred to latent post-colonial aggression, I have chosen
imagery that highlights the lived reality of neo-colonialism in the Philippine-Toronto
community as it stands on the periphery of popular Canadian culture.
Special thanks to the Ontario Arts Council for sponsoring this project.