AWARD-WINNING visual artist Robert Besana has always been interested in spiritual matters, particularly religious art. During the Holy Week this year, he became reflective in Our Lady’s apparition to three young shepherds in the town of Fatima, Portugal in 1917. There were three secrets that were revealed; what got his attention are the whys and hows of the third secret has already been revealed, but still remains to be controversially unfulfilled according to some scholars. If indeed it was truly fulfilled, according to some claims, why have we not fully experienced the promises of Our Lady? These may perhaps be the reason why its effects continue and are gravely felt to this day.
The third secret is the absolute consecration of Russia by the Pope and all cardinals together. And after many attempts by various Pontiffs through the years, as well as repeated gatherings by cardinals, what resulted were the many damages leading to our world’s destruction. The biggest repercussion was during World War II with the Philippines being one of the most heavily besieged.
Ongoing at the Eskinita Art Farm in Tanauan, “Fatima” is a four-painting series that resulted in Besana’s in depth artistic realizations on this unfulfilled third secret—how pride and deceit caused the world’s obliteration from 1939 to 1945 as Manila was left in ruins next to Warsaw.
Using archival pigment ink pen on gesso prepared birchwood panel and canvases, Besana presents an assertive depiction on the fall of our institutions causing us to sink deeper in the quagmire of our morals. With archival photos as reference, Besana has graphically rendered in stark black the grim horrors of war. The motivation was primarily to depict the consequences of the third secret and there’s no appropriate imagery than showing the war itself through these photos.
Fatima, the biggest piece in the exhibition, the destruction may be the most obvious as it is physically grueling seeing a tank rummaging an arch of St. James in Intramuros. Besana proves that its effect runs deeper than brick and mortar but is deeply embedded in culture. Fatima symbolizes the eradication of our Spanish influences and the imbibing heritage that was wiped out by solely greed. Decomposed represents how education as provided by the United States teaches us the wrong morals through war—how the war suspended learning and disrupted its classes caused by the delay in the acquiring of knowledge of our citizenry. Forgetting may take longer than the rebuilding of its columned stones.
Public administration as imposed by the Americans is mercilessly toppled in Decay. This resulted in a crisis in our Philippine presidency as evident in our having two presidents in President Manuel Quezon and President Jose Laurel. We were never the same after this episode and our concept of humanity was jaded and abused.
Aftermath remains the most painful picture of all, as it reflects the million Filipino lives lost both military and civilians alike. Staring at this image only proves we have never recovered from this setback.
In a personal context, “Fatima” is about the destruction of institutions, moral structures, our ongoing war with misinformation, and other ideologies that break the most basic unit of society, which is the family. As his creative reaction to the sacred issue, Besana is never afraid to show the ugly face of war and its discontents—its gruesomeness—during the Second World War as it is the peak of hatred as countries were aligning against Russia and its allies. After rendering Besana then splashes yellow ocre to add his signature visual style while hastily doing it in wet-on-wet technique he does with confidence.
“Fatima” is situated in the sprawling expanse of Eskinita Art Farm in Tanauan, Batangas, an artist-run space by Alfredo Esquillo Jr., Besana’s mentor while growing up in Las Piñas. They are both active members of Kalye Art Kolektib having collaborated in many art and mural projects together. It is through Esquillo’s influence that Besana is guided in the course of where the brushstrokes of his realism would lead him in the future.
Robert Besana is an award-winning artist and independent curator. His defining characteristic is his ability to imagine the Filipino—our folk identity, religiosity, and culture—juxtaposing them with contemporary issues and concerns while interpreting them in the most authentic and realist way to tell our stories. His art practice spans two decades and holds a master’s degree in Fine Arts and Design at the Philippine Women’s University. Besana has exhibited in both local and international galleries and museums. Currently he is the Executive Director of the School of Multimedia and Arts at the Asia Pacific College in Makati City.
“Fatima” is ongoing until January 9, 2022.