Milieu Euphony (In Act Series #2)

Phase 12

PHASE TWELVE

IN CREDENCE AND BELIEFS

Installations were livelier than marble.

And they were better to hear than the marble.

Because they were not deafening, rather, pleasant to hear because they do not make any sound.

"Ayusin mo nga hawak. Mahuhulog e," Santiago, a sculptor student, complained. The student gripped the part properly before Santiago could resume.

The sculpture made a rough sound—an indicator that the joints had clicked.

Umatras ako at hinawakan nang maayos ang parteng ina-assemble nila. Nakatingala habang tinatanaw ang taong nagbubuo ng installation bago bitiwan ang hawak nang matapos.

"Ayan! Tapos."

Santiago went down the seven-foot-tall installation before he looked up to where we were standing. Pinunasan niya ang pawis gamit ang tuwalyang nakasampay sa balikat at nagpakawala ng malalim na hininga.

"Tapos na rin sa wakas!" he exclaimed and retrieved his bottle of water from the side.

I went to one of the spider's legs and checked if it was assembled properly. The gaps weren't much visible because it was firmly locked in place—conditions similar to the other legs. The installation was properly molded because of the time spent on each of its parts.

The Maman installation, a French for "mom", was originally made by Louise Bourgeois. She was a French-American artist known for her large installations, but it was Maman that marked her name as one of the famous artists.

Originally, the Maman was around thirty-foot-tall—a drastic difference from the eight-foot-tall replica that we recreated. The replica was a group project for the finals which was also exhibited along with other installations.

Similar to the materials of the original Maman, the replica was made of bronze, stainless steel, and marble. Santiago Cardillo was the one who formulated the idea and was also the one who directed the project from the start to finish.

He bragged that he was our senior—sure he was—and that he had the most experience among others. A few acknowledged his credibility, while others didn't. Probably due to his position in the sculpting discipline—third best, that's why they were skeptical in trusting him because Michelangelo and Giuseppe were still free individuals.

But the group assignment wasn't at par with their desire, so, third best.

Michelangelo was at another group installation; Giuseppe was on another.

Eventually, they were in terms with Santiago's idea, though ambitious, but marveled at how their skepticism and defiance would lead to success in installation.

And the Maman replica—there it was. It shone brightly under the sunlight; its shadow loomed under the passersby who had two choices—to stay for a while or pass by.

But, of course, an art form of this length—of this physical dimension—would whisper to anyone and ask for their time to be admired. It was very different from the nature of sculptures—overbearing.

The installations—just enough.

Sculptures were shouting, wailing, and forcefully dragging—it demanded passersby to listen to their pleas.

But installations were of a different length—they were gentler, kinder, and easier to listen to because they whispered. Once words were rejected—silence, but a certain temptation would lull them back to its position. A satisfying hymn would be heard before peace for eternal silence could be attained.