“In “Sunlight on Broken Stones,” Bautista wrote of battles of the past as he recalled the periods
of occupation of the Philippines. He used those stories from each period; Spanish, American, Japanese,
to paint scenes and stories of social conflict and privilege of those in power.
He included Martial Law from the Marcos era.

The stories did not follow a chronological order, to a point, some were even left vague. I realized
that the scenes from the Trilogy were analogies, not memories retold for the sake of prose.
Rather than deciphering them as mere figures of speech from a reader’s point of view, Bautista invited me to understand his words with my senses, as if each scene was a performance and I, a witness.”

“As I read through the assigned first 16 pages of Sunlight on Broken Stones, I asked, ‘do people know Cirilo Bautista?’ What better way to (re)introduce him but by extending his stories of social conflict and privilege into three parts:

(1) from words recalling the past to
(2) pictures depicting the present, and thereafter,
(3) to reality.

As he said, “Our wounds, after all, have only dried but not healed.”

“This zine is not only to celebrate Bautista and what he left us but to introduce him to different types and generations of “consumers” of information, especially those who believed and still believe in the same things he did.

I have always loved poetry, but it has been a while since I immersed myself in it, especially the length of the Trilogy. I had to read and investigate the assigned pages over and over until I had a grasp of what Bautista was trying to say. Repeated readings helped me find a way to understand and derive how to translate his work. I re-read it again many times afterward, aiming at specific objectives each time.”

“I aimed to stop juxtaposing images parallel to the scenes recalled by Bautista in the poem. The goal was to exaggerate and highlight the social conflicts in the polarities of his stories and after, translate his words to a more universal language such as pictures. As the images piled up, I realized I was somewhat reiterating his process but in picture form.

Once I followed his process, letting go of control and letting my senses take over, it allowed me to paint scenes, evoking a roller coaster of emotions, and tell the story in my own way. Although technically, we are somehow out of strict quarantine and allowed to leave our houses, we still limit ourselves from going out.”

“This limited my images to those I found online, from my stockpile and using
my daily routine as a subject for new photos.

The photos were taken using a phone camera, a Nikon D5000 35mm DLSR,
and Nikon F2 35mm SLR. Images were then superimposed and manipulated using Photoshop to create the scenes.”