Arts & Culture
PANDEMIC DIARIES: Twelve Months Later

Photos taken by Pablo Quiza around Cebu City during the months of March, April and May 202
AS WE APPROACH ONE YEAR under pandemic times, we look back at March 2020 with fascination. And awe. We had 12 months of lockdown and survived the so called new normal. We lived with masks and alcohol even today. Carless roads and dark malls. Those were the early days of March, April and May.
It stretched to October and past Christmas. No Sinulog. Virtual parties on Zoom and virtual mass on You Tube and FB Live. We debated on the best meds to take if we get sick and whether to wear masks (please do!). We scampered for face shields and anti-viral sprays. Vitamins C and D and zinc. Later, we survived being swabbed and we learned the difference between a PCR and an anti-gene test. The latter cost less.
We dreaded the declarations of IATF mandated from Manila. And we got mad at the police chief who had a birthday party while his people were busy locking up everyone violating the lockdown. Most horrifying of all, we needed to produce IDs! Are you a resident of Barangay Lahug or Banilad? Are you employed and why are you still working? Everyone suffered thru endless checkpoints. Most sad of all are those using motorbikes, they seem to get the raw end of the deal since those with cars are not as scrutinized. We managed to trick the system by putting a big handwritten note in front of the car: COMPANY CAR, and zipped tru the police desks in the middle of the road. Don’t even think of travelling, by plane, boat or bus. The collection of the required documents is enough for one to get exposed to Covid.
We learned to shop online, order groceries and necessities thru delivery. We slowly moved towards cashless payments. Gcash and banks like Union Bank and China Bank with friendly apps are heroes for making life easy for most of us to spend what little cash we have to spend on Lazada or pay the VECO bill. Oh and we binged on K dramas on Netflix and You Tube, kamsaminada.
As 2021 enters, there are some good news. For those obsessed with news, you already know that 7,000 vaccines arrived last March 2 in Cebu, with more expected in the next few weeks. The death rate is not as high among those who caught this pesky virus, which tells us that doctors in the hospitals have some proven expertise in dealing with Covid. More cures should be in the horizon.
Meanwhile, lets continue dreaming of the day when we can cross borders again, even if its just Bohol or Boracay, Bangkok or Hong Kong. Ready those luggages and bags bought during the 3/3 sale in Shopee in preparation for the day when we can take the ferry or the plane for new adventures.
Arts & Culture
Chaos and Clarity: Zen Aesthetic in Oj Hofer’s Art

by Jing Ramos |
Oj Hofer, our fashion contributing editor, is a Fine Arts graduate from the University of the Philippines. Though he began painting at the age of eight, his artistic journey took a transformative turn in 2013. While volunteering as a costume designer for Siddhartha: The Musical, he encountered Venerable Master Hsing Yun’s One-Stroke Calligraphy, sparking a deep devotion to Japanese sumi-e painting and kanji calligraphy. Over the years, he refined his craft, using his art to share the Dharma through exhibitions while supporting the Hsing Yun Educational Foundation. In 2022, his spiritual path deepened at Nan Tien University, where he embraced Zen and Humanistic Buddhism, shaping his artistic philosophy.

“Plum Blossoms in Moonlight.” Serigraphy on abaca.
In his recent works, Hofer merges traditional calligraphy with serigraphy, drawing inspiration from his friend Charles Lahti—an internationally recognized New York-based painter and printmaker. Lahti, known for his collaborations with post-war American artists like Robert Rauschenberg, Donald Judd, Andy Warhol, and LeRoy Neiman, introduced Hofer to silkscreen techniques. Through a workshop Lahti conducted in Cebu—arranged by their mutual friend Greg Urra—Hofer integrated silkscreen into his Zen artworks, particularly those on abaca.

“The Circle of Harmony” Serigraphy and Calligraphy on abaca.
Hofer’s cross-disciplinary approach challenges conventional Zen aesthetics. His layered paintings on abaca may seem far from tranquil at first glance, but closer contemplation reveals a meditative core. His serigraph of an Enso circle, for example, initially appears chaotic, filled with Tang Dynasty poetry and overlapping, repetitive forms. Yet, by focusing on a single calligraphic element, the viewer experiences a moment of clarity—a glimpse of awakening within the visual complexity.

“Monkey Mind” Serigraphy and Calligraphy on abaca.
Even more engaging is his diptych Monkey Mind. At odds with the traditional Zen emphasis on negative space, this piece is deliberately busy, reflecting the restless nature of the mind. A distracted viewer may struggle to find a focal point, but one attuned to emptiness and presence will perceive clarity amidst the seeming disarray.

Ink and intention—creating calligraphy in support of one of my advocacies.
By fusing Zen philosophy with the discipline of serigraphy, Hofer invites his audience to look beyond surface impressions and discover stillness within movement, balance within complexity. His art does not merely depict Zen—it embodies the paradoxes at its core, offering a path to mindfulness through the act of seeing and the experience of doing.
Arts & Culture
What is Sappia? The Rice Myth Goddess of Bohol Who Helped Feed the People During a Great Famine

by Emma Gomez
The story began when the people of Bohol started to experience hunger and famine. All the livestocks were inedible and the fields were dried out leaving only weeds planted on the ground. The people prayed to the goddess of mercy, Sappia, to ask for food.

Sappia, the rice myth goddess of Bohol
Sappia, from the heavens, heard the cries of the people. She saw the dense population of weeds and offered to help them. Sappia thought of nourishing the weeds to be edible and healthy for the people of Bohol. Straightaway, she sprinkled the weed with milk from her bossom. She emptied each breast until blood came out. Before she left, she whispered to the weeds that they may be nourished and be able to feed the people.
When harvest season came, the people of Bohol quickly gathered the nourished weeds. They observed that the ones sprinkled with milk were white, while the other were red. They called the new plant rice and they replanted these in honor of Sappia, and for the people to devour.
Arts & Culture
Kimsoy’s Canvas of a Lifetime in Full Display

by Diana Gillo
There is nothing more fascinating than seeing an artist’s lifetime of work in one room. Such is the experience in Jose “Kimsoy” Yap’s third solo exhibit entitled “Kimsoy: Episodes of Mastery,” at Galerie Raphael Cebu. This serves as the truest form of homage to his enduring journey, showcasing works that span over decades.

Kimsoy with his student and muse, Zhara Rivera Mercado, at the entrance of Galerie Raphael
The exhibit speaks greatly of Kimsoy’s evolution as an artist, with his shifting mediums and remarkable variety of subjects. His creations range from heartfelt portraits of individuals he encountered along his journey to detailed landscapes inspired by the different walks of his life. The room’s layout carries the weight of his years of craft with one wall lined with pastels, another with watercolors, and another with oil painting.

As the River Flows Onward by Kimsoy Yap 2020 | Oil on canvas | 82×48 inches
The exhibit transcends beyond just the commemoration of Kimsoy’s masterful periods. It wanders more into a sense of intimacy reflecting Kimsoy’s life’s journey—from his roots as a young boy in Negros Oriental, through his pursuit of greater artistic mastery in New York, to his prominence in Cebu’s art scene. All his work freehanded, created both with his left and right hand, depicts the ways in which we all leave traces of ourselves in our work and in the world.

A Friend of Mine 1979 | watercolor on paper | 24×18 inches

In a Relaxed Mood 1977 | water color on paper | 16×19.5 inches
The opening ceremony featured Ambassador Jose Mari Cariño, alongside special guests Ivy Ang Gabas, Paolo Li, Angbetic Tan, Laurie Bouquiren of the Visayas Art Fair, and Valerie Go of Galerie Raphael Cebu. The exhibit is open until March 21, 2025.
-
QuickFx3 months ago
Animula: Emma Gomez’s New Destination Restaurant Opens in Tagbilaran, Bohol
-
People1 month ago
The Cardinals–an Amazing Gallery of Portraits on Cardinals in the Philippines by Artist Jun Impas
-
Fashion3 months ago
Ravens, Runways, and Revelations: A Glimpse of Amato
-
QuickFx3 months ago
Walking on Eggshells: Danny Rayos del Sol, the Philippines’ Lone Ostrich Eggshell Artist
-
Prime Target2 months ago
Carlo Gabiana—The Illustrated Man Makes a Mark on Cebu’s Tattoo Scene
-
Arts & Culture2 months ago
Chaos and Clarity: Zen Aesthetic in Oj Hofer’s Art
-
Prime Target2 months ago
Jamie Gellor–A Multihyphenate at the Intersection of Business, Beauty, and Wellness
-
Beauty & Wellness2 months ago
The Lowdown on IV Drips–Dr. Victoria Jordan Sarmiento Opens Krowne Premiere Medical Aesthetics to Promote Overall Well-being