In February 2023, Art Fair Philippines made a triumphant return to its physical venue, The Link Carpark in Makati, after two years of virtual and socially distanced fairs.

From this moment – a symbolic return to a pre pandemic state – visual artist and photographer Hersley Casero took his cue and presented a set of three photographs from his archive that straddled consistent truths amid ever changing times.
The number three was no accident, with the colors: a yellow light, the blue sea, and red onions being a reference to the country’s flag. Perhaps an ode to a nation that survived the grips of a global crisis, or perhaps testament to a will that has no other goal but to overcome any and every challenge faced.

Nothing is more captivating than the sea and its mysteries, and for most of existence, it is a force to be feared. However in “Free Falling,” an award-winning vignette of pandemic life in Dumaguete, Casero shows his flair for capturing the spontaneity of children vis-a-vis nature. Unbothered by matters of consequence, the only thing on their mind is a better dive or a more spectacular splash into the waters off Bantayan Beach. Playing around is a habit.

The titular piece “Onion Kids,” made quite a stir as it was shown hot on the heels of the so-called onion crisis in the country, when the cost per kilo went up to as much as 1,000 pesos. The abundance of the produce in the image juxtaposed with the innocence of the children playing around it was another marker of our time in the pandemic. Maybe it is also a reminder of a collective naiveté where we take the resources and blessings we have for granted. Appreciating the small things in life is a choice.

Going back a bit further to 2015 is the cleverly christened “Paligid,” which for Filipino speakers immediately translates to “environment.” In the Negros vernacular, it is “to roll,” derived from “ligid” which means “wheel” or “tire.” When one chances upon this photograph, with its sublime interaction of light and dust, of shadow and movement – a poignant environment unfolds – and with a longer gaze, the figures of children playing, rolling tires, emerge. Pursuit of the good image is a tradition.

What sets Casero apart from the plethora of street photographers is his somewhat unique predisposition in catching a scene that is largely dictated by framing and composition. This is thoroughly explored in a series of smaller photographs entitled “Catch a Moment.” He goes on consistent photowalks, which allows access to certain snippets in time. This is evident in his photographs from Bantayan Beach, a frequent hangout of local kids. One pandemic day around lunchtime, and while other photographers left to eat, Casero stayed, knowing that a shot was waiting. This was when “Onion Kids” was taken. “Paligid” was a scene not far from his house, but he had set out that morning, with a sense of foreseen randomness.

Two months after the fair in Manila, Mugna Gallery restages the exhibition to extend its viewership and influence. Interestingly, what makes these photographs resonate well is that while they are the Onion Kids; we, the viewers, are the same. Life imitates art, and whether happy or sad, Onion Kids are always crying.

By Koki Lxx