Bridging Artists and Critics in Iloilo

By Noel Galon de Leon

The recent controversy sparked by Ted Aldwin Ong’s Facebook post on May 27, featuring his so-called art installation Houseband worker, a creative always and forever, demands careful scrutiny. To be clear from the outset, this post cannot be regarded as legitimate artwork. Yet, Ted Ong’s status as a public intellectual and art critic complicates the situation; his role in our community cannot be dismissed lightly.

This explains the intense backlash from many artists. Although Ted claims the post was satirical, satire is a double-edged sword: while it can provoke meaningful reflection, it also risks deepening divides. The reactions from Iloilo’s artistic circles reveal a larger truth — our community of critics and artists alike must invest more effort in cultivating a nuanced, thoughtful discourse around art that goes beyond provocation and misunderstanding.

Contrast this with the work of Gelo Zarsuelo, a young and promising artist from Aklan. His recent exhibit HOME/TOWNS explore his dual identity rooted in Iloilo and Aklan, weaving personal memory with collective experience. Born in Iloilo and raised in Aklan, Zarsuelo treats these places as more than geographic markers; they are emotional and political landscapes that shape his journey as a queer artist.

In HOME/TOWNS, the installation Sampayan (“Clothesline”) is particularly striking. By displaying his late mother’s duster alongside his father’s shirts and family towels, Zarsuelo conjures a deeply intimate portrait of home and memory. This simple arrangement transcends the personal to touch upon universal Filipino themes of loss, belonging, and resilience. The emotional weight carried by these everyday objects is profound, demanding respect rather than ridicule.

It is therefore deeply unjust, especially in a community still striving for recognition and cohesion, to reduce an artist’s heartfelt expression to mere mockery. Such dismissiveness threatens the fragile bonds that nurture creativity and cultural growth.

I do not believe Ted Ong’s post was motivated by malice. Having known both Ong and Zarsuelo personally, this incident is all the more painful. At a time when Iloilo’s artist community needs solidarity and mutual support, such misunderstandings only deepen wounds. Whether Ted’s satire was poorly timed, misjudged, or simply misunderstood, the episode offers critical lessons for all of us.

First, as members of an evolving art community, we bear collective responsibility for fostering a culture of respect, empathy, and thoughtful engagement, particularly in the digital spaces where much of today’s art discourse unfolds.

Second, satire, while a legitimate and powerful form of criticism, demands a careful balance of wit and sensitivity. When wielded without due care, it risks alienating the very audience it seeks to engage, undermining its potential for positive change.

Third, Iloilo’s uniquely close-knit art community, where critics and artists often meet face-to-face or interact online as peers, is a strength. This accessibility can be harnessed to foster meaningful dialogue, support bold creative work, and ultimately drive the growth of the arts in our region.

Let us remember that art criticism should enlighten rather than divide, and build bridges instead of walls. As we think about this incident, may it encourage us to approach art and each other with more kindness, wisdom, and courage.

Despite the challenges, young artists like Gelo Zarsuelo give hope to Iloilo’s art community. His work shares deep and personal stories that connect with many people and show great creativity and bravery. Gelo reminds us to look closer and appreciate the rich experiences that shape us all. With talents like his, Iloilo’s art scene will grow stronger, built on respect, diversity, and hope. We should support artists like Gelo because their voices inspire us and bring people together.

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Noel Galon de Leon is a writer and educator at University of the Philippines Visayas, where he teaches in both the Division of Professional Education and U.P. High School in Iloilo. He serves as an Executive Council Member of the National Commission for Culture and the Arts-National Committee on Literary Arts.