Fiber is an underutilized aspect in contemporary arts in the Philippines despite its traditional role in the country’s culture. The intent of Aze’s art is to re-awaken in today’s setting the appreciation and relevance of these. 

Spontaneity, intuition and impulses are integral parts of the process – rooted in the Artist’s discoveries having lived with the indigenous people belonging to the Talaandig tribe. This leads to an intended ambiguity regarding meanings and themes that encourages debate and individual appreciation. The conscious effect leads to association to relevant issues from self-healing, the environment, science, politics, cultural appropriation and feminism. The underlying narrative is to share her personal journey to seek enlightenment.

Aze Ong (b. 1977, Philippines) is a Filipino contemporary artist working with fiber, whose artistic praxis ranges from installation to performance. Aze was a recipient of the 2016 Asian Cultural Council (ACC) Fellowship and has an extensive portfolio that includes exhibitions in important artworld platforms in Metro Manila, Davao City, Singapore, Abu Dhabi, the Kingdom of Saudi Arabia, South Korea, Canada, the United States, and the list of countries continues. These platforms include museums, galleries, artist-run spaces, heritage sites and pragmatic city spaces. Enabled by a travel grant from the National Commission on Culture and the Arts (NCCA), she recently completed an artist residency at the Bliss on Bliss Art Projects in Queens, New York.

ARTIST STATEMENT

Fiber is not a popular medium for Art in the Philippines despite its history of weaving.

My journey started in the environment of fiber, fabric and needles in my mother’s garment business where I helped out.

I became a volunteer teacher and was assigned to the mountains of Bukidnon where I interacted with the community of the Talaandig indigenous group. From their culture, I learned about the spontaneous and experiential nature of art. I discovered the connection of art with the natural environment and its healing-therapeutic power. This influenced my art practice.

Liwanag means light. This is the path that led me to being an artist. The artworks created during these times manifested my dreams, energies and realizations. They felt alive, sentient and became part of me: an offspring and companion. The constant affirmation from the universe is by following the flow without expectations.

The experience of using fiber: the mastery of the motions, being in the present and giving it your all is the healing process that should be shared to others. The teaching of Taoism parallels this and has only returned me to my original purpose – to spread the light and healing energies through my art. Integrating my medium with ceramics connects it with the grounding process.

I am passionate in creating art and its dialogue with the audience. This was behind my experiential research on public space which resulted with “Queen.” Art should be accessible just like our connection to the Tao = The Source.

These processes of commanding fiber take up my time. Despite the lock down I continue my exploration of this medium and push its boundaries. The domesticity, flexibility and tactility of fiber is its strength. It directs me to learn, relearn, discover and rediscover myself through it. The healing capability of the silent-meditation-ritual, the repetitive intertwining of thread into fabric is its engagement and significance.

Fiber is my weapon.