by Joice Lynn Segovia

Coming from a STEM background and transitioning into Fine Arts, I often felt like I was bridging two different worlds. When I was selected for the internship at the Kalaw-Ledesma Foundation, I was both excited and uncertain about what I could bring to the table, especially as a first-year Fine Arts student. But looking back, this experience was more than just an opportunity—it was a turning point in my creative journey.

Beyond this, coming from a city where art appreciation is viewed differently, I was initially puzzled by the need for art criticism when I applied. In my hometown, the general perception of art was that it should be beautiful and picturesque. Art was seen as decoration rather than discourse, a product rather than a process. The idea that art should be critiqued, debated, and challenged was virtually nonexistent.

Art Criticism Writing Workshop last September 2024. Photo by Joice Lynn Segovia.

It was my organization adviser and mentor, Karlo Galay David, who encouraged me to apply for the internship. He believed that exposure to a more critical and structured art environment would help me grow—not just as a Fine Arts student, but as the President of Youth Society Kidapawan Heritage, an organization focused on cultural appreciation.

At the time, I had only a vague idea of who Purita Kalaw-Ledesma was. I thought she was simply an art patron, someone with the means to support artists. While that was true, my internship allowed me to see that her legacy was far more profound. Through my time at the foundation, I came to understand her greater mission—not just patronage, but the preservation of art history through documentation and critique. I was introduced to the concept of “receipts” of artistic interactions in Manila—carefully collected and scrapbooked over time, forming a tangible history of Philippine art discourse.

Being part of the foundation allowed me to engage with this history firsthand. I learned archiving, learned the fundamentals of preservation, assisted in exhibits, gained access to experts in the Philippine art scene, and observed how art criticism is written and discussed. At first, these tasks felt routine, almost mundane. But over time, as my appreciation for art deepened, I realized their significance.

Final preparations before the opening of the Critic/ism in Flux exhibit last May 2024. Photo by Joice Lynn Segovia.

For those already familiar with Purita Kalaw-Ledesma, she was not only a writer and founder of the Art Association of the Philippines but also a strong advocate for art criticism as a driving force for progress. She believed in its “vital role in the development of culture,” emphasizing its power to push artists toward growth and challenge audiences to think beyond aesthetics.

A Reflection on Kidapawan’s Art Scene

These insights did not come to me instantly. They developed over time—through observation, engagement, and the many projects I worked on at the foundation. But once they did, I began to reflect on my own city, Kidapawan, and how its artistic stagnation is fueled by a lack of critical engagement.

The art scene in Kidapawan exists in an echo chamber, where artists are rarely challenged to refine their work or explore deeper meaning. Art remains trapped in the comfort of familiarity—a cycle of repeating what has already been done, with little regard for innovation or discourse. Many emerging artists resist critique not because their work is beyond scrutiny, but because they have never been exposed to an environment where critique is valued as a tool for growth.

The author’s clamshell box in progress during the Clamshell Box Making Workshop facilitated by Prof. Emma M. Rey last October 2024.

This refusal to engage with criticism has led to a self-imposed creative quicksand—a place where artists sink deeper into the illusion that what already exists is “good enough.” Without critique, without the push-and-pull of artistic discourse, they remain trapped, mistaking stagnation for stability. But without movement, without challenge, how can art evolve?

The lack of critical discussion doesn’t just hinder individual artists—it prevents the community from developing a distinct artistic identity. Kidapawan’s art remains timestuck, disconnected from the broader national and global art movements. It risks becoming a relic of unchallenged ideas rather than a space for cultural dialogue and progress.

Moving Forward

My time at the Kalaw-Ledesma Foundation taught me that art is not just about creating—it is about evolving. True artistic progress requires discomfort, dialogue, and the willingness to question. Throughout my internship, Lk Rigor, Mayumi Hirano, and the rest of the KLFI staff not only guided me through the work but also helped me grow in ways I hadn’t expected. Their patience, mentorship, and unwavering support made the transition smoother—both physically and mentally—as I navigated this new space. For that, I am deeply grateful.

Instagram story of the author during the opening of Critic/ism in Flux.

Kidapawan’s art scene has potential, but potential alone is not enough. Without the willingness to engage in critique, challenge norms, and push beyond comfort, it will remain caught in a cycle of self-congratulation rather than true artistic development. Growth comes not from mere creation, but from conversation, confrontation, and the courage to evolve.

I leave this experience with a renewed purpose—not just as an artist, but as someone who hopes to cultivate a more critical and dynamic art community in the future.

Egress day for The Muralist Who Prefers Basketball exhibit last January 2025. Photo by Joice Lynn Segovia.

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Joice Lynn Segovia is a fine arts student from University of the Philippines Diliman. She has served as the President of Youth Society Kidapawan Heritage since 2020.

Disclaimer: The views expressed here are solely those of the author and do not necessarily reflect the views of the Kalaw-Ledesma Foundation, Inc (KLFI).