What do we truly believe, and why? These were the probing questions at the heart of Emmanuel “Manny” Garibay’s exhibit “Paniniwala,” which runs until April 5 at Art Cube Philippines. Following his critically-acclaimed “Dambana” at the Art Fair Philippines, Garibay presented a powerful deconstruction of faith, not as a serene ideal, but as a dynamic force shaped and often manipulated by socio-political realities throughout Filipino history.

“Paniniwala,” meaning “belief,” transcends a mere inquiry into religious dogma. Garibay meticulously dissects how belief—whether spiritual, ideological, or cultural—has been institutionalized, weaponized, and distorted. Through his signature expressionist figurative style, he challenges viewers to confront the ways in which faith had been used to impose identity and mold public consciousness.

The exhibit’s narrative arc moves from the subtle coercion of “Kumbinsi,” where faith is forced through rhetoric and ritual, to the enduring consequences of colonial indoctrination in “Kolonya.” Garibay vividly portrays how Spanish friars framed conversion as salvation, effectively erasing Indigenous beliefs and instilling a sense of cultural inferiority. The legacy of this manipulation is further explored in “Dakip,” a stark depiction of colonial power, where knowledge becomes a tool for subjugation.

“Doksolohiya” exposes the spectacle of institutionalized belief, transforming the sacred into a grotesque circus of political and economic manipulation. Even amid this portrayal of domination, Garibay offers a glimmer of hope in “Tawid.” Here, belief is reclaimed as a force of liberation, depicting a lone protester standing against oppression, symbolizing the power of resistance and the struggle for truth.

Another striking piece in the exhibit was "Nayon," a composition that encapsulates the tension between faith and power. The painting features an array of distorted and exaggerated figures, each representing various facets of belief and control. A solemn clergyman, his face heavy with contemplation, clutches a religious icon as grotesque figures surround him—some in adoration, while others in mockery or menace. A winged woman with an unsettling grin looms above, while a man in a bowler hat points accusatorily, invoking the ever-present forces of authority and coercion. Hybrid creatures—a horse-headed figure in a doctor’s coat, a man with a snake in a jar—suggest the intersection of mysticism, superstition, and institutional power.

Garibay’s work is not merely a critique—it is a call to action. He prompts viewers to question what they revere and who benefits from that reverence, urging them to step beyond the confines of established systems and embrace the possibilities of the unbound.

Garibay, born in Kidapawan, North Cotabato, in 1962, is renowned for his socially and politically conscious art. A graduate of the University of the Philippines, he has consistently used his art to awaken consciousness and inspire change. His extensive involvement in art and cultural organizations, including Tutok Karapatan and Kritikal Katoliko, underscored his commitment to using art as a catalyst for social transformation.

Art Cube Philippines is located at 2295 Chino Roces Ave., Makati City.