In a time when corruption continues to bleed the nation dry, artists across the Philippines are joining the Concerned Artists of the Philippines’ (CAP) campaign called KORAPTOBER. This movement transforms anger and frustration into creativity, calling out the systems of greed that thrive at the expense of the people. Among the artworks taking part in this campaign is “Luha ng Buwaya” by Don Angelou Laureta, a young artist from Sorsogon whose work pierces through the layers of hypocrisy that define much of our political life.
At first glance, the painting demands attention. The central figure is a crocodile with a human body dressed in a Barong Tagalog, the traditional symbol of honor and respectability. Draped in the red, white, and blue of the Philippine flag, the figure appears to embody the nation itself, yet twisted into a grotesque parody. The colors, arranged as if at war, hint at a deep internal conflict and betrayal from within. The crocodile’s cold, unfeeling eyes reveal a predator masquerading as a public servant. It is a chilling reminder of how power can wear the mask of patriotism.
In one hand, the creature holds a lit match near a roaring flame.
In the other, it balances a Scale of Justice.
But the balance is skewed. A single peso coin outweighs a small, shackled human figure. This simple but powerful detail captures the painful truth about how even the smallest bribe can tip the scales of justice.
Around the figure lie symbols of national decay: stacks of money representing plundered public funds, an unfinished highway sinking into floodwaters, and a dark sky heavy with ruin. These are not distant metaphors but mirrors of the corruption that has shaped our collective suffering, from the misused funds meant for infrastructure to the devastation left by neglect and greed.
Through this painting, Laureta reimagines the Filipino idiom “Luha ng Buwaya” or the crocodile’s tear as a portrait of false remorse. The crocodile sheds tears not from sorrow but from hunger and deceit. In Filipino culture, the image of the crocodile has long been associated with the corrupt and the greedy, those who consume and exploit without conscience. Laureta’s crocodile, dressed in formal wear and cloaked in the nation’s colors, becomes a damning symbol of the elite who manipulate power while feigning sympathy for the people.

Yet beyond the rage and accusation, “Luha ng Buwaya” is also a work of witness and remembrance. It compels viewers to confront uncomfortable truths about complicity and silence. It is not just a painting of the corrupt but a reflection of a society that has learned to live with corruption as if it were normal. By depicting this moral decay in such vivid, allegorical terms, Laureta forces us to see what we often choose to ignore.

Don Angelou Laureta is an Architectural Drafting student at Sorsogon State University and a member of both the Kurit-Lagting Art Collective and CAP Bicol. He is passionate about drawing, painting, photography, and music. His creative practice extends beyond the gallery, reaching communities through murals, photography exhibits, and collaborative art projects. For Laureta, art is not only self-expression but also a tool for education and social change. His works often engage with the struggles of ordinary Filipinos, turning visual storytelling into a form of activism.

In “Luha ng Buwaya,” Laureta channels this commitment with striking clarity. The piece does not simply accuse; it documents. It holds accountable those who burn the country’s future for personal gain and invites reflection on how ordinary citizens can resist through awareness, art, and solidarity. The painting’s realism, blended with symbolic surrealism, mirrors the contradiction of a nation where truth often competes with illusion.

#KORAPTOBER amplifies voices like Laureta’s, reminding us that art remains one of the most powerful forms of protest. When words are censored and justice is delayed, the image becomes testimony. CAP’s campaign urges artists to take part in the fight against corruption, not by preaching but by creating. Each artwork becomes a record of resistance, a spark for dialogue, and a call to conscience.

As flames rise in Laureta’s painting, they seem to consume not only the canvas but also the collective patience of a people long betrayed. The crocodile may hold the match, but the fire it kindles can also symbolize awakening, the burning desire for truth and accountability.

In the end, “Luha ng Buwaya” is more than an indictment of corrupt leaders. It is a mirror held up to the nation, urging every viewer to ask whose tears are we shedding, and when will we stop mistaking the crocodile’s for our own. Through his art, Laureta reminds us that silence is complicity and that even in the darkest times, art can still light the way toward justice.

# # #
For more information:
CAP Bicol Secretariat