There’s an old belief that art is a luxury, something to be set aside when people are struggling to make a living. This year, after the Philippines faced earthquakes that shook familiar landscapes, typhoons that changed coastlines and communities and ongoing corruption that eroded public trust, many might expect galleries and artists to retreat.
However, the Visayas Art Fair (VAF), organized by the Cebu Culture Art and Design Foundation, did the opposite. It acted like a beacon of hope. From Nov. 15 to 18, 2025, the VAF, now in its fifth year, opened under the theme “Infinite Perspectives: Unbound Creativity.” On the 12th floor of Oakridge Studio in Mandaue City, Cebu, the place was alive with expressive artworks, but there was something more profound happening—a shared determination to be heard.
Art amid calamity
In one corner, a work that speaks the language of loss: James Donn-Webb’s pieces carried the trace of Typhoon Tino, where the damage to his studio was visible. Those fingerprints of adversity did not make the work pitiable; rather, they made it honest. In other areas, paintings and installations burst off the walls with fierce energy. Artists expressed their anger through vibrant colors, standing against the betrayal of public trust and the indifference that makes disasters worse because of greed.
The art fair didn’t shy away from discussing corruption, but it created for these artists a space for open dissent. “Crocodylus corruptus biped” was an artistic expression featured at the fair where both artists and viewers were encouraged to paint on the crocodiles as they confronted the forces damaging the nation. They expressed their anger not just for show, but to turn that outrage into awareness. In this democracy, art has become a civic instrument.
In light of the recent impact of Typhoon Tino, it may seem like continuing the fair showed a lack of concern for those who are suffering, but that’s not the case. Keeping the fair going was a way to show support. The organizers announced that all ticket sales would help flood victims affected by the typhoon. They also set up a donation drive where people could contribute, including a corner with toys to give to children who survived the storm. This decision turned attending the fair into a way to provide help, making the event a meaningful act of support.
Creativity in healing
Art as therapy takes on real meaning when you witness people gathering around canvases as if sharing their deepest confessions. It’s like a collective breath after a year filled with shared trauma. Cultural workers, volunteers and artists participated not for the spotlight but because they recognized that culture holds significance, especially when the ground beneath us trembles.
There was tenderness amid the anger. Between installations that challenged power and sculptures and paintings that carried the weight of loss, smaller works spoke of daily intimacy: a mangled house mended in acrylic, an installation of mud-caked bikes and boots used in floodwaters, and a 30-liter bottle of flooded water inside a gallon entitled “Luha ni Tino.”
The fair highlights the strong link between visual arts and creative industries, showing that culture can help with recovery and provide sustainable livelihoods. With Cebu’s goal to be seen as a creative city, this goes beyond mere pride and becomes essential for a region that needs economic diversity and healing. In this space, exhibitors and visitors actively contribute to the future of culture. Art in the Visayas serves not just as remembrance but as a strong act of resistance that energizes communities and inspires the nation to face its challenges and pursue change.