“Reading Bautista’s Telex Moon is like deciphering the works of Malevich, Tatlin, El Lissitzki, even Daniel Libeskind. The way I see the abstraction in his poem resembles how the Suprematists, Constructivists, and Deconstructivists play around with syntax, structures, and form in creating meanings. Telex Moon’s texts flare the mind because of its dynamic play of words and phrases, as if each stanza is autonomous and can be interpreted in multiple ways.

Since the poem connotes the city of Manila in different facets, I find it absolutely relative to my previous and current works about the city as a hybrid organism and how to probe it using different types
of lenses. The morphology of my works has always been anchored in Sausseur’s linguistics
and Derrida’s notion of anti-form and meanings. This allowed me to navigate the structure
and meanings of the poem with excitement but yes, with perplexity. “

“My works are three dimensional and extend to other dimensions. Using the free and critical spirit of the Dadaists, my assemblages are actually phrases and stanzas of different stories of a city. It can connote social imbalance, prostitution, slavery, historicism, post-truth, and more. Synthesizing linguistics, grammar, and the ready-made,
they resulted in tectonic poetry. I would like the viewers not to see my works as forms but read them as if they are a set of texts with additions, omissions, alterations,
and even transgressions; a set of palimpsest or a microcosm of a mutating city. “

“The only challenge I encountered in this project was how to align the poem’s meanings and blend them with my assemblages. While the rest, everything went harmoniously. The quarantine period actually became an opportunity for me to reflect and contemplate as an architect, artist, and a pedagogue. Getting back to gardening also shaped me a lot better. I wish I could make a big site specific art installation anywhere in the city. This could allow people, the public, to immerse in the art of poetics. ”