Juan Sajid Imao

Juan Sajid Imao

Trans-formations and Translating Histories

July 12, 2010 / E-5

Text by Johnina Martha Marfa

His story begins with a kind of transformation, the sort which happens after a crucial choice, in multiple occasions, one after the other, affirming and de­fining. But this is not the kind a viewer witnesses easily, because it does not involve physical motion. It demands more—a little brawn, perhaps, but definitely some brains—because it is not mere change wrought by some ac­cidental chance. In Juan Sajid Imao’s story, transformation is trans-forma­tion, one that goes beyond the limits of the structure—the sculpture—and taps not only matters of the physical, but also the recesses of the intellec­tual, psychological, emotional. 

“A sculpture is not only a carved piece,” says Sajid, “it tells a story and it has a history.” Indeed, history has always been part of Juan Sajid Imao’s sculptures, whether cast or carved. In his three-dimensional versions, however, Sajid takes history and translates it into a form more acces­sible to the visual Filipino. “Sculpting isn’t just about carving or etching,” explains Sa­jid. “It also involves interaction with the people you work with and the viewers who see the work. That way it be­comes almost a prod­uct of conver­sation and co­opera­tion that will hope­fully become landmarks in time.” Juan Sajid Imao cre­ates sculptures that are open-ended; they invite their viewers to create their own stories while giving them back their sense of heritage through corporal history.

Getting this done took some time though, since his father, Na­tional Artist Abdulmari Imao, didn’t quite encourage his pursuit of art. “He was just concerned,” recalls Sa­jid, “I think he wanted me to have a differ­ent life.” Eventually, despite his slight uncertainty, he decided to pursue his passion, finding him­self greatly influenced by two major figures: National Artist Nicanor Abueva, for his spontaneity and his instant interaction with the medium; and his own father, Abdulmari. “Kahit gusto kong kumawala sa shadow niya, very evident ‘yung influence niya, especially in terms of design,” he shares. “Although maganda tra­baho ng tatay ko, conscious ako na hindi ko ‘yun pwedeng gayahin. The influence is there, but there is always modification, innovation.”

It is perhaps Sajid’s recogni­tion of his own artistic heritage that fuels his creations. His sculptures, regardless of media, inspire a sense of still­ness, where strength is always tempered with ten­derness. The viewer is invit­ed to look at his sculpture and re­member home, recalling and re-citing his/her own stories and relating them to it. Conversation, whether with an­other person, with one’s self or with an art piece, fans the embers of cre­ation, and this is exactly what Sajid’s sculptures create. Con­sider: Episodes of shared mem­ory, both historical and fictive, leak in as the viewer’s recol­lections begin, the eyes trailing the curves of the sculpture and the mind traveling to faraway places and periods known and otherwise to the viewer.

Suddenly s/he comes back, putting the body, the mind and every­thing else firm­ly back into place, includ­ing a renewed sense of home and history. Real­izing what has tak­en place, the viewer gazes at the art piece again, ac­knowl­edges the conversa­tion, and walks away a changed per­son. It should be not­ed that this is only a single possibility of experience, one that Sajid may have sought to capture in sculpting faces.

“Masaya ako kapag gumagawa ako ng mukha,” he shares. “Ano ang proseso ng paggawa ko ng mukha? Kinakausap ko ‘yung tao, tapos kinakausap ko ‘yung ginagawa ko para makita ko kung magka­mukha na.” Conversa­tions, then, become a venue for Sajid to transfer and transform a certain energy from the person to the created figure, as well as his own in both. “I do believe in energy,” explains Sajid, “and I be­lieve that if there is energy floating around items or people, I would be able to absorb that, and it responds to me in a way that it transforms when I carve sculptures right.”

Does the same thing happen then, when it concerns major figures in Philippines history? Maybe, although the conversations are done differ­ently. “I do research,” Sajid says. “I enjoy reading history, but I employ it in my sculptures. When I was just starting, I would do library research on something that in­terests me, and then I would make a pro­posal so I can start on it.” This research he translates into works of metal, clay and fiberglass, his fa­vorite among which is brass. “I like brass,” he shares, “it’s sturdy and it’s generally friendly for sculpting.” Like brass, Sajid’s works reflect his strength of character, perhaps as well as that of a heritage authentically Philippine.

“Artists should help in preserving Philippine history,” explains Sajid, “and I [would like to] think I’m doing that through my sculptures.” For Sajid Imao, the artist is an instrument of time by creating chronological markers that show the sensibilities of a generation of a certain period. “Pinapakita ng gawa ko na ganito mag-isip ang generation ko, ganito ang sensibility ng generation ko,” he continues. “It can be a reference to future generations, just as the art before us is a reference to us.”

All things considered, however, Sajid Imao admits that art is ulti­mately an expression. “My art is my diary, parang autobiography,” he confesses. “I don’t want to say any­thing else, kasi may mga nagsabi na nu’n. So many things have already been said about art, and I would only be quoting someone else if I said something else. A piece of art is, at the end of the day, the artist’s expres­sion of his personal experiences.” In the process of creation, the potential viewer’s various story formations for the sculptures seem secondary; what matters are the artist’s per­petually trans-forming visions and the creations that they produce.

Although his story begins a kind of transforma­tion, it doesn’t quite end with a complet­ed change. Juan Sajid Imao’s art and visions con­tinue trans-forming, translating histories personal and commu­nal, presenting them­selves in sculptures and monuments, large and small, for their viewers’ recol­lections and individual trans-formations.

Juan Sajid Imao’s solo exhibit “Open End­ings” runs until July 18, 2010, at the Net Quad Building in Bonifacio Global City, Taguig City.