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PrimeTime (installation views), 2019, photography by Zan Wimberley, courtesy of Verge Gallery


PrimeTime
2019
Series of 3 inkjet prints on paper, single-channel video, computer-cut adhesive vinyl, injet on foamcore
Dimensions Variable


The Fullness of Time (2019) with JD Reforma at Verge Gallery was supported by the NAVA New South Wales Artists’ Grant.


Together We Will Rule The World, 2019
Single-channel video, 4:08 mins, computer-cut adhesive, injet on foamcore, inkjet print on paper

Promise You Will Watch Over It, 2019
Single-channel video, 4:30 mins, computer-cut adhesive, injet on foamcore, inkjet print on paper

The Will Have The Power To Move Water, 2019
Single-channel video, 1:56 mins, computer-cut adhesive, injet on foamcore, inkjet print on paper


The souce material for PrimeTime is taken from fatnasy Filipino soap operas, also known as fantaseryes or telefantasya. This genre of Philippines television programming often depicts narratives about cosmology and mythology specific to Filipino culture and history. The three series that have been included in this work portray a myriad of characters including half-human beings in Mulawin (2004-05), mermaids and merfolk in Ayrana (2012-13), and shape shifting evil spirits called aswang in Juan Dela Cruz (2013).

With the objective to learn about her cultural heritage and to gain an understanding of this material, Garcia reached out to her aunty, Tita Gigi, a dedicated viewer of Filipino soap operas, in order to access Filipino language and folklore. Garcia asked her to transcribe certain scenes, which she formatted into a script. Following this, the two, communicating via FaceTime, worked on a discursive mode of translating from Tagalog to English. Lastly, Garcia took these translations and conjugated them into future tense, which are offered as takeaway texts.

PrimeTime oscillates between different languages, both spoken and written, traversing through tenses, whereby the collateral outcome is a strange futuring. The choreographic transliteration is also mirrored in the processing of the moving image that is downloaded from the internet, reneoncded, and datamoshed. The collapse of time becomes pixelated, the glitch complicates the logic of translation, and the loss of information both visually and linguistically parallels her diasporic experience.