Modernity meets tradition in the works of this US-based Filipino artist
Photos from Razel Mari/Facebook and Applied Craft and Design/Instagram
Many consider “modernization” the gold standard for progress.
Smart home devices that obey orders without complaints, AI-powered tools that promise to transform the workplace, flying taxis that make commutes a breeze—aren’t these the signs of a utopian future we’ve been dreaming of?
Well, in a perfect world where no one gets left behind, sure.
But in a society where the idea of progress seems to come at the expense of the quaint, what are the traditional workers, craftspeople, and creators of things that aren’t dependent on technology supposed to do?
Do we actually have to give up traditional art and culture—letting them fade into the background of nostalgia—in order to stay relevant? Portland-based Filipino artist Razel Mari Sta. Rita is determined to prove otherwise.
Progress and preservation can go hand-in-hand
Sta. Rita was a former full-time product designer for the Community Crafts Association of the Philippines. His exposure with artisan communities in the country was what motivated him to help carve a space for traditional artists amid modernization efforts.
“After two years of being a product designer, I aspired to be closer with the making process itself by focusing on my own independent studio practice,” says the artist. “It was during this time when I thought of going to graduate school to increase my learning opportunities.”
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With the belief that tradition and modernity coexist on the same spectrum rather than being separated by “clear boundaries,” Sta. Rita set out on a journey that took him across borders.
His weapon of choice? A Fulbright Foreign Student Program scholarship, which ultimately led him to pursuing a Master of Fine Arts (MFA) in Applied Crafts and Design at the Pacific Northwest College of Art in Portland.
“Working with Filipino artisans, I remember so well the enthusiasm that they have whenever we sit together and start making,” he says. “We would have random conversations, often silly and fun topics that would bring smiles as our hands continue moving while making.”
These aspects are what he aims to further explore in his studies, which he calls “the intangible things that are formed as we create, the indirect values we can learn from the process itself.”
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Now, what about his post-MFA plans?
“After obtaining my MFA here, I plan to move my studio practice back to the Philippines and continue exploring different methods of making,” says Razel Mari Sta. Rita. “Through these explorations, I intend to support my artisan friends by continuing the exchange of learnings with them through crafting.”
He’s interested in getting into academia, too. He hopes to contribute to the evolution of the next generation of Filipino artists, designers, and makers.
According to the Fulbright scholar, his major goal is to help them “be more conscious about their practices, be more intentional with material choices, and be more aware about the labor that goes into the creation of objects.”
However, Sta. Rita also recognizes the innate excellence of local artists. In fact, he emphasizes that he wants to “support” them instead of “uplifting” them: “I am a mere artist learning their ways, while also sharing new things [I’ve] learned along the way.”
A glimpse into Sta. Rita’s works
Despite being in a foreign land, Sta. Rita remains connected with his roots. “The [farther] away I am from home, the closer I feel to my Filipino identity,” he says. “I can say that experiencing different cultures highlights the things that we usually take for granted back home.”
This sentiment manifests in his works, where he sometimes unconsciously finds elements of Pinoy culture surfacing. One notable piece delves into the complexities of technological modernization, tackling the ongoing jeepney phaseout discourse in the Philippines.
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“For sure, having safer and more eco-friendly vehicles is better, but are the steps toward this modernization attainable for everyone?”
Nature also plays a crucial role in his artistic process. During the pandemic, he found inspiration in the birds around his house. This connection resulted in the creation of his favorite piece—the Rooted Birds installation—crafted during his Anakbanwa residency in Dagupan, Pangasinan.
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