An Artist Statement / Reflective Essay by Amiel Gerald Roldan
For decades, I have committed myself to the practice of painting and artmaking—drawn to it not solely for expression, but for the quiet sustenance it gives.
However, prolonged exposure to the structures, personalities, and politics behind the art world has, at times, left me jaded and distracted. I hold myself accountable for these distractions, but they were also lessons. The peripheries of art—documentation, marketing, directorship, curation, administration, facilitation, and pedagogy—have deeply informed my growth. In learning the demands of these roles, I found a sense of order and grounding amidst the turbulence.
A pivotal moment in my development was the opportunity granted by the Asian Cultural Council in 2003–2004, which allowed me to work in the United States. That period served as a critical foundation for my growth as a printmaker, painter, and curator. Over the years, engagements across different countries, invitations to exhibit, and various recognitions gave me a sense of validation. Yet they also introduced moments of complacency and setbacks, often fueled by disillusionment with peers or betrayals from those once considered allies.
I have since learned to approach my practice with measured trust, drawing strength from those setbacks. While some challenges fractured my sense of direction, they also taught me patience, resilience, and discernment. I remain thankful for every opportunity—missed or seized—as each has contributed to the artist and cultural worker I am today. I continue to operate independently, project-based by principle, and choose not to be tethered to institutions unless treated with fairness and professionalism.
My work in art education, writing, curatorial work, consultancy, and organizational roles has prepared me for the complexities of this field. I have often stood on my own, extending help only when it aligns with a cause or serves emerging artists in need of support. I no longer carry illusions of being a savior; instead, I advocate for self-reliance, rightful compensation, and due recognition. These principles were hard-won through experience.
This May 2025 marks a new chapter, as I join fellow practitioners in the exhibition “Cultural Workers: Not Creative?” at ILOMOCA in Iloilo City. The show, opening on May 16, brings to light the rarely acknowledged creative contributions of those working behind the scenes—those involved in the logistical, administrative, curatorial, and operational aspects of the art world. It is a long-overdue recognition of the cultural workers who shape our cultural landscape, often without spotlight or credit.
In the context of a shifting Philippines—marked by political shifts, climate change, and a hyperactive art fair calendar—this exhibition serves as a respite and a reassertion. Southeast Asia’s art scene continues to evolve, and the Philippines is steadily carving its space. While the upcoming 2025 elections and global events add complexity to our realities, this show reminds us that cultural work is a form of resistance, assertion, and survival.
“Cultural Workers: Not Creative?” showcases the works of 14 artists who are also cultural workers: Ross Almendras, Justin Amrhein, Lester Amacio, Ivy Marie Apa, Julio Jose Austria, Moreen Austria, Eric John Eigner, Ricky Francisco, Dave Lock, Amiel Gerald Roldan, Rhaz Oriente, Jumjum Ouano, Benj Pore, and RA Tijing. The exhibition invites the public to reconsider the boundaries between visible creativity and invisible labor.
My personal works are also available through Kulay Diwa Art Galleries online. I remain independent, continually exploring ideas and cautious of my position as both participant and observer in this art ecology.
Lastly, let me emphasize: legal boundaries matter. In the Philippines, reposting malicious content—factual or opinionated—may constitute cyber libel, and individuals are held accountable for each count. Let us engage with one another constructively and with due diligence.
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* Ilomoca presents “Cultural Workers: Not Creative?” on May 16, 2025. Opening and ribbon cutting starts at 6 PM at Ilomoca in Iloilo City. A series of events mark this momentous occasion, bringing together several artists of different backgrounds from different art peripherals in an exhibition. It is quite a novelty, now highlighing the cultural workers that normally work around in back offices, logistics, and the grounds of museums and galleries.
