Roland Llarena dissects social paralysis in Hamúok
The Marawi Siege in 2017 and the 1979 post-apocalyptic film Mad Max were two enduring images that quickly came to mind while viewing the composite installation of Roland Llarena in “Hamúok,” his 7th solo exhibition at the Thrive Art Gallery.
The motifs are emblematic of the bombings, with the raw, untreated welded parts of stainless steel sheets and metal riddled by shrapnel. It visually conjures a sense of doomsday post-war relic in dystopian films with cold, lifeless environments where junk metals are re-assembled by fighters as improvised tools for survival and even playthings of children amidst the ruins and lawlessness.
The imagery in Roland Llarena’s sculptures, however, transcends fictional portrayals of utopian-dystopian scenarios. Instead, these works reflect the artist’s exposure with real-world battles like the Russo-Ukraine war, the Israeli-Palestinian conflict, and the territorial tensions between the Philippines and China over the West Philippine Sea, through reconfigured stainless sheets and metal figures in abstract shapes and distorted forms.
The most recent clash between navy forces of the Philippines and China is the focus of three distinct sets of sculptures: “Slipper Game,” the monumental triptych “Burador ni Juan,” which dramatically hangs from the gallery ceiling like a drone, and the “The Isle” series, which is presented on the gallery floor beneath a descending flying ladder.
Roland Llarena’s sculptures are renowned for their complex social themes, embodying layers of meaning through intricate design and thoughtful execution of upcycled materials. His dedication to exploring social phenomena is exemplified in his acclaimed work, “Sulod Dukot,” which earned him a semi-finalist in the 2022 Metrobank Art and Excellence Awards.
His development was influenced by his internship with abstract artist Allain Hablo, and his artistic evolution has made a mark on both figurative and abstract art. His growth was further honed during the 2021 Linangan Art Residency Program, where he learned the virtues of patience and meticulous observation. The residency provided him with the opportunity to deeply interrogate the three-dimensional aspects of his materials, enabling him to present works as social critique and achieve his vision. His art style had made him renowned for its potent social commentaries, marked by a somber yet prognosticatory tone.
Hamúok represents his effort to dissect contemporary anxieties arising from geopolitical tensions, alongside the resulting economic and political instability. Additionally, it aims to examine the cultural norms that contribute to societal paralysis.
Three distinct approaches emerged in this collection, each crucial for unraveling the layers of meaning in Llarena’s work. The title, which means “in deep slumber” in Hiligaynon, reflects the underlying message of the piece, emphasizing the profound and multifaceted nature of his commentary.
Firstly, Llarena’s work reflects the Beuysian concept of “social sculpture,” as evidenced by his declaration that stainless steel and metal should not be dismissed as mere junk. Instead, he sees these materials as holding intrinsic value comparable to that of human beings, deserving of respect and acknowledgment. This viewpoint aligns with German artist Joseph Beuys’s assertion that “everything is art” and that life itself is a form of social sculpture shaped by its historical and social context.
Applying the Beuysian perspective invites viewers to interpret its complex symbols—contours, curves, and folds—to suggest that cultural or societal norms may have been formed by human experience. In the triptych “Burador ni Juan,” he depicts the Philippine archipelago’s three main island groups—Luzon, Visayas, and Mindanao—suspended above “The Isle,” symbolizing national unity. This unity is visually connected by a hanging ladder that represents descending bombs rather than a rescue device. Surrounding this central piece is the “Slipper Games” collection, which features slipper toys designed as miniaturized bombers with M-60 machine guns. This installation reflects Llarena’s insight that the roots of national decay lie not in external forces but more like internal culpability, revealing the shortcomings of its own people and leaders.
Secondly, he dissected the cause of social paralysis by employing the ‘interpolation technique’ to encourage viewers to explore various interpretations of the word “Hamúok.” Using the title as a metaphorical framework, he critiques the tendency of some Filipinos to feign ignorance or disengagement from current events, a concept mirrored by the familiar Filipino proverb, “mahirap gisingin ang nagtutulug-tulugan,” which highlights the challenge of waking someone who is only pretending to be asleep.
In a satirical manner, Llarena uses the title “Hamúok” to criticize the negative Filipino attitude, employing it as a metaphor for sleep paralysis. This concept symbolizes how individual passivity and silence, akin to being in a state of “deep slumber,” contribute to a broader, collective social paralysis.
Lastly, Llarena employed the ‘juxtaposition approach’ by blending the symbolic meanings of both the text and the material properties of steel and metal to underscore coldness, emotional detachment, and indifference. It demonstrates how a nation with fragmented and disengaged citizens is especially susceptible to manipulation and exploitation.
Roland Llarena forces viewers to confront the root of our nation’s troubles, echoing John Arcilla’s poignant words in the 2015 award-winning period film Heneral Luna: “Mga kapatid, mayroon tayong mas malaking kaaway kaysa mga Amerikano—ang ating mga sarili.”
Hamúok prompts us to consider that our greatest enemy might very well be ourselves.