On passing through the eye of a needle
By Alana Malika and Andri Santos How

A&M's Fresh Faces is where we profile an emerging artist from the region every month and speak to them about how they kick-started their career, how they continue to sustain their practice and what drives them as artists. Read our profile on Filipino artist, Russel Trinidad, better known as Doktor Karayom here.

How did you come up with your alias ‘Doktor Karayom’?

My name is Doktor Karayom. ‘Karayom’, which translates to needle, comes from the Filipino saying “kahit butas ng karayom, papasukin ko” or “I will pass through the eye of a needle to achieve my dreams''. I chose the word KARAYOM because I wanted my creations to convey emotion to my audience. I want my work to be able to be both medicine and poison, anesthetic and narcotic, tranquilizer and euphoriant. In my perspective, each piece is meant to confront different types of feelings and illnesses. Then, I added the title ‘DOKTOR’ as a tribute to the many doctor characters I have seen in the horror movies, scary stories, and supernatural tales from which I take inspiration.

Could you share how you’ve maintained your practice after graduation? What are the important factors that kept you going?

After graduating from Technological University of the Philippines (TUP), I made the decision to become an artist, but I didn’t know how to reach that goal. Therefore, I became an apprentice to Dex Fernandez, a fellow Filipino artist and one of my role models. From him, I learned how to make a living as an artist. I took on additional opportunities such as becoming a Wacom Pen Tablet promoter at the mall and taking on street art projects. Then I took on a full time job at an office where I learned the inner workings of the company. Even when I was working full time, I was determined to continue making art.

Installation view of ‘SANTONG PIKON!’ (2015). Image courtesy of the artist.

How did the opportunity for your first solo show, ‘SANTONG PIKON!’ (2015) at West Gallery of the Philippines come about?

At first, it was nerve wracking because it was my first solo exhibition, but I’m sure that’s how everyone who has been in my position has felt. I couldn’t remember if there was an artist who backed out. I just remember Dex Fernandez came to me and said something along the lines of, “There, go do your solo show”. When I agreed, I felt a mixture of anxiety and excitement because it was different from the group shows I had participated in up till then. This time, I was all by myself. I would have to hone in on the theme and the story I could tell in the exhibit.

I am so grateful to West Gallery and especially to Sir Soler Santos for his willingness to exhibit my first show in their space.

What was the process like preparing for it?

I first thought of the budget for the materials that I wanted to use because I wasn’t making much money back then. Then, I also found a way to use available materials from my immediate environment.

At the time, I used my breaks in the office to work on pieces for the exhibition. And when I went home from the office, I would continue to work on the piece and would not stop until I was satisfied. Despite the long hours, I was surprised with what I was able to accomplish.

Since the exhibition, invitations to showcase my art have continued to come my way.

Doktor Karayom, ‘Mata sa Loob ng Pikit na Panalangin’, 2021, 182.88 x 121.92 x 12.7 cm, wood, resin, fiberglass and spray paint. Image courtesy of the artist.

How does your use of the color red and grotesque imagery and shed light on larger societal issues?

Red is a striking color. The color helps me tell my stories. This is the color of remembrance, emphasis, or warning. I embrace the terrifying imagery this color evokes because it is the color of blood and internal organs.

Your recent exhibition 'Habak' (2021) at Artinformal Gallery consists of 3D mixed-media installations and resin sculptures. Could you talk about the ideas and process behind this show?

Habak (2020) was probably the most time-consuming exhibition I have put together, it took almost a year of preparation. There were so many times where I made mistakes, took things apart, put them back together and thought of the right approach to finish a piece. There were many times where I felt frustrated, and I even broke down in front of the piece while I was creating it. This was the piece that I confronted back when the lockdown first started in the Philippines. Preparing for the show took over my life. The work kept me in the right headspace even while there were many things happening around me. I was overwhelmed but I was able to express what I was feeling into the piece.

‘Habak’ is a Visayan term for an amulet or a charm that is worn on the body. It contains different contents of branches, leaves, herbal medicine, oil, prayers, etc. This was protection to fight against harmful elements around us. While I was making this work, I think I was protected by it because of the heavy feelings I felt. I also included a spell where whoever sees this or whoever possesses it may be given protection and guidance from the unseen evils.

I am grateful to Artinformal gallery, Ms. Tina Fernandez and Sir Norman Crisologo who helped materialize my imaginations and vision for the exhibition.

Who has been a mentor or an important artistic influence? And why?

I had many influences when I was just starting, when I was still searching for myself as Doktor Karayom.

From the start, my mentors at the Philippines Street Plan, the first street art graffiti crew in the country, influenced my art practice and journey. The people I have lovingly called kuya, ate or tito¹ have not only impacted my graffiti art in the streets but also my fine art inside galleries.

I owe a big debt of gratitude to Dex Fernandez/Garapata who has been a great mentor to me.

I was also heavily impacted by TUP Alumni and their artist networks because they were the ones who believed in who I could become since college.

I am also very grateful for Cavity Collective because they influenced me in aspects other than art. They were there for me when becoming an artist was just a dream, when we didn’t even know what would happen from the paintings we would make in the streets as well as the early group shows we would host. Even now, I am still with them.

I am also thankful to all of the friends I made in the art scene who supported my personal growth and developed my creative process.

Doktor Karayom’s studio space. Image courtesy of the artist.

What was one important piece of advice you were given?

All of the galleries I’ve encountered have been nice and easy going. I’m very grateful some of them have accepted my artworks and given me the space to experiment and be guided by my mischief.

What are your hopes for your own local art scene, and regionally as well?

I hope that they give recognition to more obscure talents in the Philippine art scene. I also hope that it continues to grow and expand its horizons so they could be known in our neighboring countries and eventually the other side of the globe.

Are there any upcoming exhibitions/projects that you would like to share more information on?

I am working on some projects for the upcoming exhibit and other artistic ventures. I give regular updates on my Instagram account (@doktorkarayom).

MARAMING SALAMAT PO!²

¹older brother, older sister, or older uncle.
²THANK YOU SO MUCH!