Art Review: Marigold Santos Explores Diasporas Through Epiphytes
Marigold Santos’ exhibition at Patel Brown Gallery, titled “Epiphytic Elucidations,” delves into the intricate ways in which diasporas form, using epiphytes as a symbolic framework. Epiphytes are plants that grow on other plants without causing harm, and Santos uses this concept to explore the complex nature of displacement and cultural identity.
One of the standout pieces in the exhibition is “shroud epiphyte (bilibid chair),” which references a historic photograph of a Filipina mother seated in a rattan peacock chair at Bilibid Prison in Manila. The chair, crafted by imprisoned artisans under American colonial rule, later became a global design icon with its origins obscured through commodification. Santos depicts the seated figure as an epiphyte clinging to the chair, highlighting the parasitic relationship between colonialism and cultural appropriation.
The theme of embedded labor runs throughout the exhibition, particularly in works like “nacre,” where Santos assembles capiz shells into an amorphous creature resembling an aswang, a figure from Philippine folklore. The painstaking process of cleaning and treating the shells mirrors the laborious task of remaking oneself in a new environment. Similarly, “shroud (kalabaw and death mask)” juxtaposes a water buffalo with a gold-masked figure, symbolizing the interdependence of agricultural labor and colonial plunder.
Santos’ vibrant and otherworldly paintings serve as a visual representation of the diasporic experience, reflecting the fragmented nature of identity and cultural transmission. Each material choice in her work carries the weight of someone’s hands, whether it be imprisoned weavers, shell harvesters, or Santos herself. The exhibition challenges the notion that diaspora is solely defined by loss, emphasizing the resilience and labor of those who enable survival.
“Marigold Santos: Epiphytic Elucidations” is a powerful exploration of diasporas and cultural identity, inviting viewers to consider the intricate ways in which communities adapt and thrive in new environments. The exhibition will be on display at Patel Brown Gallery in Toronto until February 28, showcasing Santos’ unique perspective on displacement and resilience.
