AGAIN, here, de Veyra appropriated images from past and recent art. But the composition seems to ignore (or liberate them from) their historical or mythological significances, if that is possible at all. In the piece, the male figure in soft pastel grey is highlighted in his rather mutilated mode (castrated, albeit it’s only “sculpturally”). The observer would soon find this figure face to face with other material imagery: metal, crockery (from a Julian Schnabel work, supposedly), plaster (from a Louise Bourgeois one), hair, grass, and wood. Again, de Veyra thought he could bring in the possibility of maintaining a religious intervention in the progressing juxtaposition (two crosses, the Eye of Providence [but it’s a nose!]), but the juxtaposition’s tension swings between religiosity and thoughts irreligious.
    The “nipa” in the title, referencing the nipa hut, is in a graphite drawing of a framed graphite drawing.
    Here, perhaps, are ideas of masculinity, fragility, strength, nutrition, life, and, again, conceptions of “God.”