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[av_heading heading=’Heavy metal musings: Two views on James Salarda’s ‘Industrial Mystery’ ‘ tag=’h3′ style=’blockquote modern-quote’ size=” subheading_active=’subheading_below’ subheading_size=’15’ padding=’10’ color=” custom_font=” av-medium-font-size-title=” av-small-font-size-title=” av-mini-font-size-title=” av-medium-font-size=” av-small-font-size=” av-mini-font-size=” admin_preview_bg=”]
BY Roxie Go and Chanelle Sofiya Cagalitan
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FROM the mechanization of labor to the rapid technological advancements, and the advent of digital age, the wheel of industrial revolution has been turning for the past 260 years. It shows no signs of stopping, albeit, it only turns faster.
As one walks through history and literature, industrialization is something that is both celebrated and condemned. In England, for example, where it all began in 1760, the Crystal Palace was built in 1851 to commemorate the “triumph of progress”: expansion of railway lines, boom in industrial productions, and increase in exports, despite the rising number of slum areas where poor laborers lived. At the same time, Romantic artists contributed to the discourse: William Blake pointed out decaying values of the era in his painting “The Ghost of a Flea,” and authors like Wordsworth and Lord Byron described industrialization as inhumane and unnatural, and called for a return to the ideals and way of living of the pastoral society.
Now in the 21st century and the narrative never quite changed, and industrialization in its digital form, has its far reaching arm over most parts of the world. Futurists still exalt extreme modernity, now represented by gadgets and hi-speed telecommunications services, among others; and the evils frantically caused by these “improvements” basically the same, only a hundredfold more damaging: environmental problems like climate change, income inequality in its highest level even in advanced economies. The discourse has been polarizing so far one can’t help wonder whether the gap can be closed at all.
But here is an art that neither celebrates nor condemns industrialization. Last Nov. 3, the solo exhibit “Industrial Mystery” opened at the Gallery i. Yes, the discourse has been polarizing, but artist James Salarda is telling us that you don’t have to pick a side. For years industrialization has been painted as a “tragedy of ugliness”, and yet here is an artist who dares find beauty amidst the chaos.
“Things are only thought of as ugly because they are not in their proper pedestal,” he says of his work “Shock Pulse.” It is also worth noting that the artist recycles materials to be used as a centerpiece. No sweeping landscapes of polluted skylines and engineering masterpieces, only a memento of an object’s utility.
Beauty is not the only thing that James Salarda explored in his exhibit; the artist was also concerned with communication. In his series, “Variable Frequency,” he discusses the different wavelengths of correspondence between people that don’t always match and may complement or not, shown in art with two different colors that don’t necessarily shine beside each other.
Audiences might be surprised to see words engraved on the art works: “I owe no explanations”, says one of them, a declaration when a misconstrued idea or person is questioned. An endearing piece is a mixed media entitled “Necronomicon,” a name lifted from the stories of H.P. Lovecraft. It might be said that there’s nothing in this world more open to interpretations and judgments from varying intellectual wavelengths than a book itself. “Till the next story”, an engraved statement says – beckoning us to keep track of the discourse. After all, prophets at Forbes do say the fourth phase of industrialization is at hand.
***
James Paul Salarda started tinkering with household materials when he was just about 4 years old. His family sensed he was different since he was often secluded in his own little world, thinking about out-of-this world perspectives.
He was described by his loved ones as being innately curious, vigilant with the things happening from his environment. His childhood was about being resourceful. While the neighborhood kids were given new toys to play with, he improvised making his own. While “Voltez V” action figures were most popular toys of his time, James took it upon himself to cut rubber slippers, molding them into his own characters.
He relates escaping from afternoon naps sneaking out through the window to go to his makeshift laboratory where he stored his small projects and playthings. Those play things included insects he’d closely observe and sketch. Around Elementary time, he continued making little projects and that’s when his parents saw his knack for creativity.
Both his parents came from San Miguel, Iloilo. His mother worked as a clerk at Casa Plaza. His father used to work as a night duty security guard for Museo Iloilo, an advantage in which earned him free passes and quick updates to the museum’s exhibits. One of those exhibits featured a painting by Juan Luna brought by one of the Philippine’s former first ladies to Iloilo – upon seeing the work, it made him want to create art for the sake of making art.
College was the time he chose to be more practical. Between choosing an Architecture degree from the University of San Agustin and an Electrical Engineering course at Western Institute of Technology, he opted for the latter. That was the time he also started to try out other hobbies. He tried his hand in making clay sculptures and photography. He also had his own tambayan at the campus, where he devoted his time composing songs heavily influenced by rock metal. When asked about his favorites, he happily mentioned Led Zeppelin, Skid Row, Sepultura and Megadeth to name a few. Such musical influences continued on to present, when he’d listen to full blast and channel his inner rock metal icons as he would make his artworks.
Salarda graduated at 2004. He joined several group exhibits at UPV Art Gallery and Museo Iloilo, not long after. His first solo exhibit “Programmable Logic Uncontrolled” was presented at Museo Iloilo last March 2017. Compared to his first, his present exhibit have smaller scale paintings, but with a more cohesive theme.
Formerly the President and General Manager of Atomic Power Industrial System Corp., Salarda now runs a small business, offering contractual electrical and mechanical services in Manila. He also contributes to several contemporary galleries across Metro Manila.
When asked about future plans, he intends to make public art here in Iloilo that is interactive and functional, one that would make use of his skills in engineering. When asked about his favorite electrical resource, Salarda chose solar power as the most efficient way to go.
One could tell that the artist definitely leaves a piece of himself in every creation he makes. The phrase “Til the end of the story” is seen engraved on Salarda’s “Necromicon” piece – the artist may live up to his own artwork, continuing on keeping his heavy metal passions alive and how making his own metal art won’t be over till it’s over.
James Mark Salarda’s “Industrial Mystery” runs from Nov. 3 to 22 at the Gallery i,
Unit 2B, 2/F, E. Villanueva Building, Corner J.M. Basa and Aldeguer Sts., Iloilo City./PN
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