Marigold Santos | of armour bespoke, of fabric, of skin, of within / binubuo ng pasadyang proteksyon, ng tela, ng balat, at ng kalooban

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Marigold Santos, “of armour bespoke, of fabric, of skin, of within / binubuo ng pasadyang proteksyon, ng tela, ng balat, at ng kalooban (detail),” 2024

(courtesy of the Gallery)

Opening Reception: Thursday, June 20th, 7pm 

The recurring motifs of unravelling and dismemberment speak to Marigold Santos’ interest in hybridity and multiplicity of self-hoods, particularly as a diasporic Filipinx-Canadian artist. She is influenced by the woven landscape of her childhood, specifically fans, hats, baskets, and mats made of woven grasses and palms, as well as Piña silk, a traditional fabric made from the labour-intensive harvesting of fibres from pineapple leaves. It is a fabric that is used for formal garments, including the Barong Tagalog, a collared shirt worn by men only for special occasions, and the Terno, a type of Filipiñiana dress, that has evolved in shape and form over time to reflect cultural eras in the Philippines. 

A distinct aspect of the Terno is the sleeves of the dress, which are flat, starched, structured, and pleated. This sleeve is recognizable, iconic, and specific to the Philippines. The sleeve style is understood to have emerged from the adaptation of pre-colonial tattoo and garments to Spanish colonization, and subsequent American occupation. Though the form has always been present and important, there is a current resurgence of interest in this style within the diaspora as a way to disassociate it from Marcos-era wealth and oppression, to reclaim it and forge a connection with heritage. 

Santos says: “In many ways I view the sleeves as ‘armour,’ a conceptual shield on each arm, which relates to my ideas of skin tattooing and my belief of self-adornment as personal armour chosen and worn by the individuals for themselves. In my tattoo practice, I do not tattoo traditional indigenous designs from the Philippines, but I intentionally acknowledge that inking skin lives in my ancestry and heritage, and as a contemporary tattoo practitioner, it guides me in my choices and my values on decolonization, anti-oppressive, and liberation views in the tattoo industry. The three printed photographs included in this exhibition will feature Filipinx individuals who have consented to be tattooed by myself with this iconic emblem on their arms, along with other images that make up their own sleeve of armour. The act of tattooing kinship is a way of thinking through our history and heritage critically, as we evolve ideas together, and find ways to connect to our shared culture.

Lunch & Look Artist Tour: Friday, June 21, 11am