Our role of handling fear is a natural contribution to heroism and the mores of identity. This is a shot of a monumental obelisk captured in Caloocan City. This depicted one of leaders, Andrés Bonafacio, that took a anti-Spanish Filipino revolutionary movement during the Spanish Colonization in the Philippines in the 19th century, to appeasing a indigenous body agitated for freedom and equality while so self-educating himself in craftsmanship and former rationalism. Although my shooting angle is left-sided to, he is further seen stood among his companions on the right of this image.
The sculpture reminds me that the facade for history is recollected from totality of appreciating what exists, from the roots of self-esteem, the supremacy of what remains, and who we are beyond historical experience.
Necromancy is a machine of modern life as is the familiarity of a sculpture, left to projection that moves and does by imitation and recurrence, more particularly by the nearest property, an incubation of power and a phantom in nature.