We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of NSW stands.

Title

Recovery

2017

Artist

Nona Garcia

Philippines

1978 –

Alternate image of Recovery by Nona Garcia
Alternate image of Recovery by Nona Garcia
Alternate image of Recovery by Nona Garcia
Alternate image of Recovery by Nona Garcia
Alternate image of Recovery by Nona Garcia
Alternate image of Recovery by Nona Garcia
Alternate image of Recovery by Nona Garcia
Alternate image of Recovery by Nona Garcia

  • Details

    Place where the work was made
    Baguio City → Benguet → Central Cordillera → Luzon → Philippines
    Date
    2017
    Media categories
    Installation , Time-based art
    Materials used
    60 light boxes: x-ray images, plexiglass, wooden frames, wires, sound, midnight blue wall paint
    Edition
    3/3
    Dimensions
    dimensions variable :

    a - Lightbox 1, 35.5 x 33 x 7.5 cm

    b - Lightbox 2, 25.5 x 43.1 x 7.5 cm

    c - Lightbox 3, 20.2 x 30.4 x 7.5 cm

    d - Lightbox 4, 35.5 x 35.5 x 7.5 cm

    e - Lightbox 5, 15.6 x 15.8 x 7.5 cm

    f - Lightbox 6, 15.2 x 25.3 x 7.5 cm

    g - Lightbox 7, 33.5 x 38.7 x 7.5 cm

    h - Lightbox 8, 16.9 x 30.5 x 7.5 cm

    i - Lightbox 9, 25.6 x 40.5 x 7.5 cm

    j - Lightbox 10, 23 x 35.5 x 7.5 cm

    k - Lightbox 11, 34.8 x 40.6 x 7.5 cm

    l - Lightbox 12, 18 x 30.9 x 7.5 cm

    m - Lightbox 13, 18.4 x 24.2 x 7.5 cm

    n - Lightbox 14, 17.8 x 23 x 7.5 cm

    o - Lightbox 15, 17.8 x 17.8 x 7.5 cm

    p - Lightbox 16, 17.8 x 25.5 x 7.5 cm

    q - Lightbox 17, 23 x 30.5 x 7.5 cm

    r - Lightbox 18, 25.5 x 28 x 7.5 cm

    s - Lightbox 19, 41.3 x 20.2 x 7.5 cm

    t - Lightbox 20, 17.8 x 33 x 7.5 cm

    u - Lightbox 21, 21.3 x 23 x 7.5 cm

    v - Lightbox 22, 17.8 x 22.8 x 7.5 cm

    w - Lightbox 23, 30.7 x 35.6 x 7.5 cm

    x - Lightbox 24, 17.8 x 30.5 x 7.5 cm

    y - Lightbox 25, 23 x 40.6 x 7.5 cm

    z - Lightbox 26, 35.5 x 20.3 x 7.5 cm

    aa - Lightbox 27, 12.4 x 20 x 7.5 cm

    bb - Lightbox 28, 33 x 33 x 7.5 cm

    cc - Lightbox 29, 21.3 x 35.5 x 7.5 cm

    dd - Lightbox 30, 18 x 17.8 x 7.5 cm

    ee - Lightbox 31, 12.6 x 20.2 x 7.5 cm

    ff - Lightbox 32, 13.8 x 20.5 x 7.5 cm

    gg - Lightbox 33, 28 x 30.5 x 7.5 cm

    hh - Lightbox 34, 15.2 x 25.5 x 7.5 cm

    ii - Lightbox 35, 12.7 x 15.4 x 7.5 cm

    jj - Lightbox 36, 22.8 x 35.5 x 7.5 cm

    kk - Lightbox 37, 20.2 x 28.1 x 7.5 cm

    ll - Lightbox 38, 26.2 x 33 x 7.5 cm

    mm - Lightbox 39, 17.8 x 22.9 x 7.5 cm

    nn - Lightbox 40, 17.8 x 17.8 x 7.5 cm

    oo - Lightbox 41, 17.8 x 17.8 x 7.5 cm

    pp - Lightbox 42, 17.8 x 25.5 x 7.5 cm

    qq - Lightbox 43, 24 x 29 x 7.5 cm

    rr - Lightbox 44, 17.8 x 17.8 x 7.5 cm

    ss - Lightbox 45, 11.2 x 11.2 x 7.5 cm

    tt - Lightbox 46, 33 x 33.1 x 7.5 cm

    uu - Lightbox 47, 25.5 x 15.4 x 7.5 cm

    vv - Lightbox 48, 18.2 x 23 x 7.5 cm

    ww - Lightbox 49, 17.8 x 13.5 x 7.5 cm

    xx - Lightbox 50, 23 x 35.5 x 7.5 cm

    yy - Lightbox 51, 28.2 x 18 x 7.5 cm

    zz - Lightbox 52, 25.4 x 43.1 x 7.5 cm

    aaa - Lightbox 53, 23 x 35.5 x 7.5 cm

    bbb - Lightbox 54, 16 x 28.2 x 7.5 cm

    ccc - Lightbox 55, 28 x 41.6 x 7.5 cm

    ddd - Lightbox 56, 17.8 x 25.4 x 7.5 cm

    eee - Lightbox 57, 25.5 x 43.2 x 7.5 cm

    fff - Lightbox 58, 17.8 x 40.8 x 7.5 cm

    ggg - Lightbox 59, 23.4 x 29.1 x 7.5 cm

    hhh - Lightbox 60, 12.8 x 15.4 x 7.5 cm

    Signature & date

    Not signed. Not dated

    Credit
    Roger Pietri Fund 2017
    Location
    Not on display
    Accession number
    342.2017.a-jjj
    Copyright
    © Nona Garcia

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    Artist information
    Nona Garcia

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  • About

    Nona Garcia grew up in a small hospital in Manila run by her parents and uses medical imaging to explore the hidden meanings of objects. Garcia has found new motivation to make art since moving to Baguio City of the edge of the Cordillera mountain range where many indigenous communities live. The indigenous spiritual practices of the region have ancient origins in devotion to ancestors and nature spirits and continue to be exercised, often in concert with Christianity.

    This work brings together 60 X-rayed objects including protective sculptures of rice deities (‘bulul’) bowls carved in the form of animals, jewellery and protective charms, as well as ritual storage boxes and anthropomorphic vessel stoppers, many from the collection of the BenCab Museum, Baguio. Among the talismanic jewellery presented are a ‘palangapang’ ceremonial neck piece with six trapezoidal plaques, a warrior’s necklace of crocodile teeth and bore tusks, an Ifugao woman’s head ornament in the form of a figure with outstretched arms, and a ‘ling ling-o’ fertility pendant.

    The X-ray light boxes are arranged in the shape of a mountain, approximating Baguio at night. They emit a faint buzzing sound, emulating the voices of crickets and tree frogs.

    Many of the sacred objects presented in Recovery are traditionally used in healing practices. For Garcia, the work is about repositioning ritual and faith-based forms of healing in a world dominated by scientific approaches to healthcare and community wellbeing. She says, ‘As I try to find my connection and probe into my adoptive city’s culture, I realise that I’m recovering something deeper and much older, like that of a lost practice of this mountain city’s past’.

  • Exhibition history

    Shown in 2 exhibitions

  • Bibliography

    Referenced in 3 publications

    • Matt Cox and Melanie Eastburn, Look, 'Passion and procession', pg. 44-47, Sydney, Jul 2017-Aug 2017, 46 (colour illus.). This image is taken from an earlier edition

    • Jeremy Eccles, art+, 'Spirit of Bayanihan. The Bayanihan Philippines Art Project in Australia celebrates Filipino art and culture.’, pg. 62-65, Mandaluyong City, 2017, 64 (colour illus.). This image is taken from an earlier edition

    • Soo-Min Shim, Art & the public sphere, ‘Passion and procession: Art from the Philippines, Art Gallery of New South Wales, Sydney, Australia, 24 June 2017- 7 January 2018’ reviewed, pg. 101-106, Bristol, Jul 2018.