Bree Jonson

A flock of white ibis on my notebook 3 days after the news that returning citizens to Philippines are banned.

A lone bridge at Sous-Massa.

This time of upheaval brought me back to the moment I stood atop a hill overlooking the Atlantic coast. I painted the Sous-Massa National Park, where the Black Ibis, considered holy by many cultures, live. I did not realise they were near extinction then, as I saw two healthy flocks by the mouth of the river. Perhaps in the limbo, I might find life as well.

Hours before lockdown, my partner and I fled Manila to Bataan. We stayed in a tent in a remote cove, which meagrely protected us from the elements. The birds were always singing. We could hear them, but not see them hidden in the canopy. I latched on to the thought of signs of life where life is seemingly absent. Back in the studio after Manila’s borders re-opened 3 months after, I worked non-stop on a series of bird paintings.

I am taking a break from shows, but not from work. I intend to explore new narratives and new techniques, to continue developing the direction from my last solo exhibition.