"WACHINANGGA" by MEL VERA CRUZ

WACHINANGGA

Mel Vera Cruz

March 2023

Artist Statement:

The exhibition title, “Wachinangga,” relates to the word 

“Watsinanggo” - (slang) A wily and mischievous person. (dated) sly, cunning and mischievous. 

I used Wachinangga with the “s” changed to “ch” because I wanted to invent my own version of “Rasquache” and that’s the closest word that I could think of. In Spanish, rasquache means “leftover” or “of no value.” In Chicano vernacular, it describes an attitude, the taste or lifestyle of the underdog.” The Jeepney (see right image) is the best example that Pinoys have been making something out of scrap for a long time. 

I have always been a DIY [do-it-yourself] person because I am very impatient. I cannot wait for anyone to tell me what to do, how to do and when to do it. I had no sketch pads or any kind of art materials when I was young because I grew up in a remote province in the Philippines. So I used typewriting papers and pencils because that’s all I had. I guess I carried that to today by using materials that’s available to me. Besides, when I went to an Art Store here in the U.S., I couldn't afford any of the supplies so I thought, How will I experiment with a 20-dollar worth tube of paint? But that is petty for me, and I will not let that stop me. I also realized art materials are so commercialized that I cringe when I use “dictated” art materials. To each their own but it feels pretentious to me because I don’t want any relays or translations. I want it to come from my gut. Again, it stems from my impatience. I was in trouble a lot of times because of this, especially with my bosses at work. I learned to compromise with my job, but I will never compromise my art just because everyone’s doing it. Strength of mind is more important than physical strength for me because a strong body will bend in time, but a strong mind perseveres.

These boxes were containers for groceries, mostly from Costco. My kids love cereal. They already have “prints” on them so I don’t have to apply a base. They are “ready-mades” with die-cuts and are ready to be used. In art lingo, there’s what they call “works on paper.” Aren’t these literally works on paper? Discernment is very important to me. I know what’s fake and what’s real because I grew up using my intuition more than my mind. I trust the third eye because it is the one who will separate the chaff from the grain as they say. The images I put are Filipino icons—such as Jose Rizal and Vilma Santos—because that’s what I know. I will never cut my “feet” or foundation to serve anyone because I feel disabled without them.

—Mel Vera Cruz

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The following presents close-ups of some of the individual works (click on all images to enlarge):

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Observation from Gallery Staff: It’s worth noting that several of Mel’s works don’t privilege one side over the other as “front” and “back.” Here are his works laid out on the rug before installation. The second image shows the reverse sides of what are exhibited. Some works are as valid as their reverse sides which were shown for the exhibition, a result that's fitting given Mel’s refusal to accept “dictated” art world terms.

About the Artist:

Mel Vera Cruz is an immigrant from Manila with 9 years of experience in advertising. A graduate of University of Santo Tomas (1985), he was petitioned by his mom to go the U.S. in 1995. He was deeply rooted in his culture before he immigrated but is flexible enough to absorb, process and integrate his experience. He lives with his wife, 2 kids and in laws in Union City, CA. He works as graphic designer for the department of transportation in Oakland.

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THE REFUGEE'S ART GALLERY

Note From the Gallery Director:
Due to California's 2020 Glass Fire, gallery operations at North Fork Arts Projects (NFAP) were temporarily suspended. But as NFAP's curator, I didn't feel like giving the wildfires the last word. I decided to open NFAP’s offsite operations at my fire evacuee residence. Given that this residence and studio is much smaller than my pre-fire digs, the gallery's physical space also has downsized to, not even the closet but, the closet door. The Refugee's Art Gallery may well be the world's thinnest gallery—perhaps I should apply for a Guinness World Record!

My studio has a closet fronted with two sliding doors. One sliding door introduces the gallery. Slide that door away and the second door will be revealed with the hanging artwork. Obviously, all artwork will be flat as the distance between the two doors is 3/8th of an inch. But I can work with that (e.g. Mel Vera Cruz's mixed-media exhibit). I am glad to present NFAP's offsite Refugee Art Gallery because ART IS RESILIENT. I hope viewers also enjoy the presented artworks.

—Eileen R. Tabios