The Aesthetics of Philippine Graffiti Art: Three Case Studies

Abstract

This study entitled, “The Aesthetics of Philippine Graffiti Art: Three Case Studies,” answers the problem, “what is graffiti art and its aesthetics in the Philippines?” based on the three graffiti groups: Samahan Batang Aerosol, Crime In Style and Pilipinas Street Plan. It is a study concerning the aesthetics: perception, reception, process and “form,” of graffiti art; how upon looking at graffiti art, how one can respond to it. The conception of graffiti art laid out in this paper, it is hoped, will aid in the understanding and appreciation of the art. Graffiti art in the Philippines in the 1990’s was influenced by New York graffiti art, through the Flip Hop movement. New York graffiti art emerged as a form of the marginalized youth wanting to express their rights of freedom of speech and use of public space. The second wave of graffiti art now broadly termed as “street art” also influenced graffiti art here in the Philippines. The aesthetics of graffiti art is examined through the artist, the art object and the viewer. Graffiti art is inherently an act of resistance, in its use of public space and illegal location. It is a deviance to the system transgressing art and society. Philippine graffiti art differs in its social and cultural context. Graffiti art from the influence of the Hip hop movement still carries the symbol of resistance the way it emerged in New York. Graffiti act of protest and resistance, to provoke and to make the public think and not just to appreciate art.