AZE ONG Contemporary Visual & Performance Artist @aze-ong - Tumblr Blog

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Thank you for the journey 2019!

From an artist residency at Saudi Arabia by the Abu Dhabi Art Hub, the GedAze project’s NCCA exhibit, Liwanag twice at different venues at SM Fairview - the latter with a fashion show on independence day, to presenting monsters at home for Load na Dito projects, to performance at Osaka Japan for SIPAF x Responding, to Vancouver Canada for Pagtitipon, the GedAze project at Yant Art Space & Bliss on Bliss Art Projects, to my public art research that made Queen possible - from its inception rolling through the streets in Queens and Manhattan New York, to its activation in the direction of Midori Yamamura at MoMa PS1 public area, to it transforming as an installation for the Nairobi Summit in Kenya for UNFPA through SEAjunction, a one day fashion show installation for Lungsod ng Makati through Lumina events and closing the year for students at La Salle Lipa Batangas.

Blessed with opportunities, nothing can be perfect and will always be grateful for the chance to learn more. Thank you 2019 for everything and to all those who have given their love and undying support and for ending it with a beautiful beginning for the new year 2020!

Cheers to #Liwanag where #FiberHeals and #FiberConnects as I continue a personal research on the #LanguageOfNature

HAPPY 2020!!!

I am the Queen!

Photo by Albert Labrador

Crown by Atanas Atanasoski

#theGedAzeproject #NCCA

“Bound” 2019

Approximately 354 cm x 193 cm

Camel pouch, assorted yarns, stainless steel framing, stainless steel wires

Aze Ong: Trans-cultural Encounters in Alrumheah Riyadh Residency

by Laya Boquiren

Aze Ong (Philippines) is a contemporary artist working with fiber. She was included among international artists who were invited to participate in an occasion of historical and cultural significance to the Kingdom of Saudi Arabia, The King Abdulaziz Camel Festival. For the said occasion, around 40 artists were invited to participate in an artist residency at Alrumheah Riyadh.

The historical use of camel hair and fabric for functional objects also piqued the artist’s curiosity. As narrated in the Camel Museum, the animal has not only permitted mobility for people but was also key to the economic history of the place. Camels have provided meat, milk, and clothing. Indeed a whole nation depended on camels and to a certain extent, the popular narrative is that camels have even fostered and maintained peace among other nations. Camel hide comes in many colors although the pure black and pure white camels cost more (a million Riyals). However, camels are not mere resource fodder but constant companion. A camel is almost like a friend in an arid journey. Able to survive for days without water, it can ferry a thirsty wanderer on its back and transport goods that would nourish the soul. As a testimony on how camels are regarded as beings capable of feeling and remembering, "One Omani artist also told me that camels cannot forget one bad thing you have done to them even after 10 years," Aze recounted.

Aze is currently carefully navigating her way through a place with a unique set of customs and cultural norms. As an artist often producing large-scale installations for exhibitions in museums and galleries in Manila, Aze was overwhelmed by the array of abstract geometric patterns and distinct hues in various types of fabrics, abodes, and everyday objects that she came across with over the course of her residency. The rich clothing one wears is usually complemented by garments worn around the head and face. Males tend to wear plain white, grey, black, or greenish robes called ‘thob’ complemented by red and white scarves called ‘gatra’ and a black circular design element on their heads called ‘egal.’ On the other hand, females are expected to wear the abaya with shela (typically black) to cover their faces. The color and style of fabric worn also becomes an identity marker across categories of gender and ethnicity.

The shared studio in the artist residency was a platform for artists to interface with others and exchange ideas. In line with this, Aze interviewed several artists, like a student learning from elders and colleagues. It was an opportune time for Aze to witness Refah Alraheel weaving as she has always done for thirty years of her life. Alraheel, who remembers weaving for a prince as her first project, takes inspiration from traditional patterns yet improvises on them as she creates her own. Aze also conversed with Hlayel Alharti from the province of Aseer. For fifteen years steeped in Alqett, the decorative art tradition of Aseer, he also crochets and embroiders with yarns purchased from Holland and Turkey. Alraheel and Alharti both weave on the floor and use the sadu or the manual weaving machine made out of wood and steel.

Out of these valuable interactions with artists who work with fiber like herself, Aze realized that textile is comparable to language valued, acknowledged, and transmitted across generations and across nationalities in various contact zones like that of an artist residency. Weaving is in essence visual language, containing stories told through time and valued by communities and their culture bearers. Weaving plays a big role in various provinces across the Arab route.

Conversations with locals seem to have invigorated the praxis of the artists in the residency program. Aze recounted being a guest in several homes, sharing several meals washed down with spiced Arabic coffee as she sat in the floor with others to celebrate new friendships formed. She was also inspired by the Bedouin life she witnessed in one of the camel farms, where she was greeted in a tent as they have done for centuries. Aze added: "After immersing to their culture, we went to the local souk, bought a camel pouch with the traditional weaving on it. I cut the pouches dismantling it from its brown lining and tried to integrate it in my work as a way to give tribute to the fascinating experience I have had. Because of my encounter with their rich culture and beautiful people, it was painful for me to cut the traditional weaving patterns from the pouch. The symbolisms of their weaving patterns and color felt so strong that I resolved not to cut or even pierce through the fabric. I felt that if I did, it would be like an imposition of one's self to a culture that has been lived for centuries. Instead, I added circular patterns to the form."

Aze Ong's work signifies an artist’s attempt to locate one’s self amid the trans-cultural encounter experienced during an artists' residency program. Her distinct circular patterns of crocheted fiber intertwine with the woven textiles (as found objects) and combine in one harmonious whole, yet the totality of the work allowed cultural differences to be legible as a gesture of respect and wonder.

•Acknowledgement:

Ahmed Al Yefei

Kingdom of Saudi Arabia

Camel Club

King Abdulaziz Camel Festival

Eanne Garcia

Charity Bandason

Abdullah Albargan

Hafsa Al Tamimi

Shadi Ali

Aljaz Vidrajz

Refah Alraheel

Hlayel Alharti

Laya Boquiren

Matthew Phillips

Marton Takats

Atul Panase

Marla Allison

Nora Alqahtani

Julien Gardair

Tarek Othman

Ged Merino

The Drawing Room Contemporary Art

Dr. Patrick Flores

Javell Bacalsot

Mohammed Ewis

Our 2 Bengali Utility for installing my work in my room

All the artists from KSA Residency

Thank you 2018! Looking forward to what’s in store for 2019.

Happy 2019 from my Monsters to yours!

Presented by the new Pinta*Dos Philippine Art Gallery Strands: Filipino and Filipino-American Contemporary Artists Encounter Textile Exhibiting Artists: LA-based, Cirilo Domine and Christine Morla, and Manila-based Aze Ong Co-curated by myself and Joseph Santarromana Exhibition Dates: Aug 18 - Oct 28 Opening Reception: Aug 18, 4 - 7pm Events coinciding with the San Pedro Art Walk: Performance Garment Show by Cirilo Domine, Thurs. Sept. 6, 7pm Artist Talk with Christine Morla, Sat. Oct 20, 3 - 4pm

#textiles #contemporary art

http://verafiles.org/articles/yarn-artist-aze-ongs-quest-enlightenment

#fiberart #crochet #art #visualart

Live sound with Ged Merino for Liveart.US at Queens Museum curated by Hector Canogne

#performance art #liveart #crochet #art #artphilippines

New York Minute Performances Barefoot, progression @theMET Performance by Aze Ong Video & Music mix by Ged Merino

#ACCgrantee theMetropolitanMuseum

New York Minute Performances, inspired by the streets, parks, public spaces culture in New York, letting go of my inhibitions is in progress to build more self confidence in self expression as we exchange stories with people in the streets. @TopazArts Performance by Aze Ong #ACCGrantee Video & Music mix by Ged Merino

#ACCGrantee

It has been my dream to perform in public places, I have always wanted to do this in the Philippines. Observing in NY - parks and subways, streets and other public spaces, I was inspired by the people’s freedom of expression and was compelled to just let go of my inhibitions and express myself, hopefully progress to building more self-confidence and exchanging stories with people in the streets and follow where my art leads me to. Police Jimenez watched and wanted me to go on and perform longer. @MoMA “New York Minute” performances Performance by Aze Ong Video and Music mix by Ged Merino #ACCgrantee

#ACCgrantee

One day in 2010, as I was on my way home, an artwork was in my back pack. Walking the sidewalks near the GMA Station, I saw the usual "latag" merchandise (street vendors freely laying their merchandise). I asked to join them and they welcomed me to place my artwork on a big empty paint can where one of them sat. There was no intent to sell, as I have always believed that art is for everyone. I stayed for 2-3 hours chatting with the vendors who welcomed me and people passing by asking about it. I heard their stories and they asked about mine. I could not forget that experience. Since then, I have always wanted to perform/exhibit and express myself in the Philippine streets and public spaces but certain inhibitions stopped me. Now, 2017, I am fascinated by people in New York's expression of freedom, people freely expresses themselves in public spaces, in the subway, parks, streets - with or without audience. They just say and do what they want to (within the bounds of the law). Inspired by this culture, I felt compelled to let go of my inhibitions and to freely express, explore, grow and have the chance to hear people's stories through these encounters. I am excited to immerse and progress through these New York minute pieces in public spaces. Video and music mix by Ged Merino. #Lotus #PerformanceArt #NewYorkMinute #ACCgrantee #Crochet #TextileArt #QueensMuseum #TopazArts

#ACCgrantee

Thanking SM City Baliwag for supporting my purpose to share Liwanag to others. Happy arts month and happy 30 years SM! 30 crocheted pieces at the atrium until March 6th! Grateful to the honorable Mayor of Bulacan Carol Dellosa, who really came to the opening amidst her very busy schedule and delivered an inspiring speech, one that came from her own words on what she experienced during the show. I got so inspired to deliver something more than what I prepared for. (Now I believe in the power of words!) Marketing Manager of the mall Laarnie B. Vera-Lauro with her team Angeline, Julian, Toni with staff Marlon, Paul & Paolo did a great job on the installation! The idea and how it was executed was great, audience definitely have that many place of interaction with my works. Very much appreciating the presence of our special guests: Dr. Eliseo Dela Cruz - Bulacan Provincial Tourism officer Mrs. Jesefina Labasbas - Baliwag MSWD Head Mr. Andrew de Guzman - NCCA Committee on Visual Arts Central Luzon Representative Ms. Brenda Bernardo - Population Commission Manager Baliwag Arch. Apple de Leon - SM Baliwag Admin. Building Manager Ms. Connie Mundo - office of the Vice Governor Daniel Fernando Ms. Mildred de Castro - SM Regional Head of Marketing Ms. Scarlet Pagdanganan - SM PR Manager PASABAKA Group Principals and Teachers of Bulacan -my husband, Norman Ramirez being an educator too, you definitely have a very noble profession To the performers: Mark Villanueva (Violin) Jeanelle Angeles (Singer) Globe/TM Drumbeaters Daloy Dance Company’s Ea Torrado & Brian Moreno To my ever loyal and pabeybi percussionist Charlene Bayani  To the beautiful and talented host Uddie Benardo To the press present and stayed until finish, Maraming Salamat po! When I started “L I W A N A G” in 2010, my would-be mentor Lirio Salvador told me that what I was doing was art, my sole intent was to express myself and share this to others through crochet. I never realized that this can affect others and have an impact like this. Quoting Christine Novicio-Badillo (a mother and a writer at GMA) “I hope at least one of my kids will be like you.” Quoting Elaine Lopez-Clemente (a mother and an educator) “Thank you for inspiring my children to dream and be what ever they want to be…” This is my calling. This is my purpose. It was clear to me from the start. I remember during my first solo show at the AAP headquarters in Luneta, Michaela Cabrera of Reuters asked me: What do you want to convey to your audience? (Low in vocabulary words, I asked what the word “convey” means), my answer then was so vague. I realized, maybe it was too early to articulate a message then. It was a continuous journey, growth, experience, knowledge and perseverance. Maybe after all the galleries and spaces who declined my exhibit proposals (one even replied bluntly: we do not accept that kind of work), and after most of the artists say: “magpinta ka na lang, mahirap i-justify na art yang ginagawa mo.” Or those comments: “gantsilyo lang yan, ang dami sa bangketa.” Or that certain art competitions would put my works outside the museum display far away from the works of others or that they do not accept my medium… Maybe I have finally earned that little voice to convey such a message: If you are true, honest and sincere with your intentions, yourself, your purpose and your work, nothing can go wrong. To my mentor, Lirio, thank you for truly believing in my works, for opening my mind to all the aspects involving the arts, for guiding me yet letting me decide for myself, for answering all my questions with patience, honesty and sincerity, for not imposing what you believe in and just letting me figure things out and for telling me that “I deserve this.” Photo credit to the owners.

Opening LIWANAG at the CCP, getting nervous as there are other big exhibit openings with the same time and date too, not to mention the christmas rush and heavy heavy traffic! My question was: May pupunta kaya? (Are there people coming?)

To my surprise, my guests either came in early to see the show or took half day and undertime from work to get to the CCP on time or changed their shift or day off schedules to be there. Many braved the traffic and got in just in time!

Sipat Lawin Ensemble’s interactive performance tackled each cocoon stages and meaning depicting the metaphor of a butterfly’s life stages, incorporating bits and pieces of Filipino dances such as “pangalay” and “binanog.” It was a long activity that enabled guests who came early, just in time, a little late, or a little later to be able to watch the performance.

So, I am especially thanking all the guests who came and always supported my passion through the years and without you I will never be as brave and sure as I am right now. I write your names here (real name, facebook name or alias): The Ong family- Daddy, Kuya Weng, Alma, Gab, Arvee, Irish, Yeye and Meme. The Ramirez family (my inlaws) - Mama, Frankie, Alex, Tito, Artie, Kermit, Susan & Rio. To Artie’s HSBC friends - Queen, Iya, Ren, Fofo, Pola. To the CCP- Mr. Chris Millado, Rica, Jun, Noeny, staff, utility, tech peeps, OJTs Czymon, Rose and Paolo To my AMA batchmate - Bambi Ibit with her uncle Alman Batiao To my former Theology professor - Ms. Carole Diamante with her friends Rolly Masilang from Toronto and Dr. Eric Halcon from Raffles College SG. To Yob Achacruz with friend Sal Budhz Floriano, Rey Callope Sabio, Joey Martinez To the Sipat Lawin Ensemble - Meila, Sarah, Yan yan and friend Diana Alferez Friends Toto and Pierra Labrador To the musicians and jammers - Charlene Bayani, Cecille Artates, Bong Dela Torre, Diyaki Alyana, Bong Odasco and Raffy Napay To Kasibulan Founding president - Tita Meps (Imelda Cajipe-Endaya) To my husband’s boss - Ms. Gigi Virata To Museo Pambata’s Mamu (Maricel Montero) and Noreen Parafina To GSIS Museum’s Ms. Nini Conwi and Ricky RAmos with Ms. Mia To Philippine Star writer Khaila Gurion with friends Jasmine Seale and James Yayen To PTV-4’s I Love my Culture segment team - Ms. Marilou Santomin, PA, interviewer, crew, cameraman and utility To artists Janos dela Cruz, Demosthenes Campos, Ina Llamas, Hayme vincent, Hohana Domanais, Karmela Hidalgo To our friends - Jon, Rhea, Gaita and Cito Obillo To the couple Tanya Jizelle and Christian Cresencio To Norman’s former students Mignon Martinez, Cheska Sagmaquien, Cheska Lirio, Arrel Untalan, Jhong Oliveros, Edgardo Jopson To our volunteer photographer Alphae Reciel Marfa To caterer Madonna and her staff To my lawyer (hahaha!) Kay Malilong To our JASMS family - Ellen Fox, Jonah, RJ Dato, Kat Sarmiento, Amy Manangbao, Vivian Bulacan, Ervin Kaw and his sister, Donna Amtil, Carlo Sol, Paul Butt, Lorraine Ferrer and Jess Paligar.

To my patient husband who continues to support my passion Norman Ramirez, thank you!

LIWANAG, pre-transition to its transition

Streaks of Light penetrating from cocoon to cocoon. Then, transition!

“I experience a similar transformation and go thru a ‘change of form’ if you will…as if inside a cocoon, in darkness and at rest…something akin to a blank stage…“trancelike” as flashes of brightness starts manifesting…awakening from the self, to change and bathe in Light and colors through my wings.”

Butterflies go through a life cycle known as complete metamorphosis. In the life history of an organism, it is a change in form from one stage to the next. A person can experience similar phases in life, though not physically.

Aze Ong’s art practice is about her emotions and her perpetual reflections on both past and new experiences. It is composed of the various stages in her life cycle that asserts itself on all circumstances. It is an ardent mining of resources afforded by experience, used as a means to confront her many extreme emotions.

“Liwanag”, which means enlightenment, is her current project that is the next stage in Ong’s phase in life. After undergoing numerous trials, the artist navigated through depression to find strength within her art. Through crochet she found inner peace. By tapping into her experiences she found spiritual freedom, a sanctuary where her thoughts and expressions came to life in her art.

The repetitiveness of the process and the feeling of accomplishment gave her a fulfillment. (A private ritual that heals her heart, mind and soul). Ong now shares her process by volunteering and participating with workshops that touch on inspiration and healing. It is a part of her art journey. It is her way of sharing.

To shine a light on Ong’s practice is to recognize her passion for her process-oriented art-making. Ong learned to crochet while taking classes at Assumption Antipolo. After realizing that her teacher and a majority of the class were right handed, she felt that she was disadvantaged by being left-handed herself. However she persevered and eventually excelled by following her intuition and emotion.

In 1999, Ong decided to volunteer for the Associate Missionaries of the Assumption and taught at the Xavier de Kibangay High School in Lantapan Bukidnon for a year. Most of her students were part of the Talaandig tribe, an indegenous group found in the barangays and municipalities surrounding the mountain of Kitanglad. However she discovered that unlike their ancestors, her students were becoming more and more exposed to modern culture. Because of this, she initiated projects for them that focused on their traditional culture, their rituals, dances, and their way of life.

Life was challenging but simple. Although it took her out of her comfort zone, Ong felt at home living on sparse conditions such as relying on the rain for bathing and other needs.

A decade later, Ong looks back at the three important aspects of her time with the Talaandig tribe:

First was her attraction to their traditional attire. Upon asking an elder about the cost, she was informed that they had to know the wearer thoroughly in order to be guided by spirits in choosing the right colors and embroidered patterns. This taught her to value her creations.

The second was when a student taught her to play the tribal flute. She came up with her own diagram while trying to recreate their melodies. She realized that the melodies could not be repeated and that the music was innate within them.

The third was during a celebration where a “Binanog” dance mimicking birds flying was performed. This would have an impact and influence on her future performances.

In 2010 she met her would-be mentor, sculptor and mixed media artist Lirio Salvador. Salvador told her that what she was doing was “art” and encouraged and guided her. She found her true inescapable passion.

Ong’s process is intuitive. Her studio floor is littered with yarns of various colors and textures which she selects from, depending on her mood. Working mostly with circular forms as if to signify the infinite, she draws inspiration from her interactions and experiences. Like her phases in life, her ideas flows incessantly towards the Light that leads her. It is a cycle of pain, healing, joy, consciousness, awareness and eventually, enlightenment (Liwanag).

Ged Merino

NYC 2015

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AZE ONG Contemporary Visual & Performance Artist