Marcushiro Nada: Jeepney Artistry as a Reflection of the Filipino

Artist Marcushiro Nada of the duo Electrolychee talks about the journey of Biyaheng Langit and how a smirking Jesus led them to a realization of what jeepney art represents, and the processes behind them.

Written by Erika Anne Sulat

(Patok Magazine/Marianna Compas)

Marcushiro Nada

Marcushiro Nada is a faculty member in De La Salle – College of Saint Benilde and a multidisciplinary artist who creates children’s book illustrations, assemblage, and mixed media work. He also does client work for their studio, Electrolychee, providing graphics, illustrations and assets for animated videos.

In 2014, the book “Biyaheng Langit” by Electrolychee was released, featuring over 180 of jeepney art. (Facebook/Jeepney Biyaheng Langit)

Flipping through the pages of Biyaheng Langit, the book primarily focuses on religious-themed jeepney art, a theme most commonly seen, as noted by Marcus Nada. (Facebook/Jeepney Biyaheng Langit)

Along with Bru, their duo Electrolychee, published a book entitled “Biyaheng Langit”. The book features various religious artworks that can be found on Jeepneys moving around the Philippines.

The Search for the “Smirking” Jesus

The project started when they were en route to the National Museum in Manila and then they saw a jeepney with an artwork of a “funny-looking” Jesus, looking as if he’s smirking. From then on, they started searching for the image by taking pictures of interesting looking jeepney graphics from Manila to other provinces.

“We find the designs sa jeepney specifically interesting. We found out that each region or locality mayroon silang distinct [and] prevalent na designs or art sa jeepneys nila.” Marcushiro adds.

When they realized that they’ve collected a large archive of photos of religious jeepney art, they decided to pursue the project of creating a book about it. The focus on religiosity was because jeepney art tackles a lot of subjects and it would be hard to contain everything on a single book.

Going by Word-of-Mouth

In the process of creating a book on religious jeepney, the duo also collaborated with jeepney artists. They tried to investigate and learn based on the collection of photographs they collected through interviews with various people, from jeepney artists to even a religious scholar and a visual artist.

At first, locating jeepney artists was a hard process since they had to go by word-of-mouth of the jeepney owners and drivers. Some artists move a lot and sometimes they’d be in another place when they’ve arrived at the destination pointed to them.

In Quezon province, sticker artist Mang Joemer Perwelo was discovered by Electrolychee and later created the cover art for the book. (Facebook/Jeepney Biyaheng Langit)

During their search for jeepney artists, Electrolychee discovered Kuya Shewrin Opiana from Sta. Mesa, Quezon City, who later created the poster design for the film Alipato. (Facebook/Jeepney Biyaheng Langit)

They ended up finding the artists Mang Joemer, who did the cover for the book itself, and Kuya Sherwin.

The Distinction Between Craft and Art

For Marcushiro, jeepney art is a craft and an art form. To explain, he brings up the distinction between art and design’s purpose.

“Art can also be a design, if you intend it to be a design element, but art is open to interpretation. Meanwhile, design should communicate what it needs to communicate.”

He stresses that if the design isn’t communicating effectively, then it’s not a good design. The same goes for jeepney art, depending on the intent.

He reveals that some artists view jeepney artistry as a craft because it’s their work. They have the tools and skills to create it, but they just follow the instructions of the client. They focus more on the production of the artwork, with proper directions about what to make.

On the other hand, he also mentions artists who can work with prompts from the client. These artists can think creatively even when clients don’t have any idea on what to place. According to Marcushiro, this is where it transcends into art.

Jeepney Artistry as Personal Connection

Through their research, they found out that the reason why jeepneys have a sort of “hodgepodge” style of art is because owners and drivers view the jeepney as a canvas where they can place anything related to them. “It’s an extension of their home.” Marcushiro adds.

A mix of colorful stickers, bold typography and religious references adorn many jeepneys, particularly in Quezon City, reflecting the driver’s personality. (Patok Magazine/Erika Sulat)

This is why jeepney designs tend to be maximalist in nature, combining aspects of pop-culture, religion, and whatever owners want to place as their jeepney designs.

“—Mamaya yung anak niya mahilig sa Dragon Ball. Tapos mamaya may Wolverine. Tapos mamaya may Rockstar. Tapos mamaya may Jesus. Tapos hindi mo na alam kung sino si Jesus or kung sino yung Rockstar, depending on who was the one to render that or copy that image,” Marcushiro points out the broad spectrum in which depictions can range from wacky to sentimental.

He also notes that while they practice maximalism in terms of technicality, they aren’t actually aware that they’re practicing the art style.

A jeepney painted with the image of the Good Shepherd and vibrant graffiti lettering embodies the maximalist aesthetic of jeepney art, where color, faith, and personal expression collide on the vehicle’s surface. (Patok Magazine/Erika Sulat)

“—Maximalist na canvas yung nila jeep nila because gusto nilang ilagay dun lahat ng kung ano sila. It’s a reflection of them.”

Where it Stands Now

In terms of the current art landscape, Marcushiro states that there are a lot of opportunities now to showcase one’s art and explore different mediums and styles.

He adds different mediums of art like performance art and other outlier forms aren’t as foreign to the masses anymore because of the advent of social media.

There’s a lot of studies to explore about jeepney artistry but Marcushiro wants us to focus on the connection of jeepney art to us as people. The jeepney is a vessel that connects to each person. A “ubiquitous decoration of public transport” as he puts it.

“Yung everyday people, common people, iba’t iba yung connection nila sa jeepney. And yun nga, kung isipin mo, parang yung jeepney ano lang eh, parang container lang siya ng lahat ng mga yun. So nabuo lang siya.”