BY PRECIOUS RINGOR
Editor’s Note: Precious Ringor’s first of two artist profiles in this collection is an interview with APAC’s Co-Executive Director, Catrece Ann Tipon. Catrece is a nurse by trade, but a dancer and photographer as an artist. Through her conversation with Precious, I hope you can get a sense of the creative stewardship that drives APAC, one that is committed to always crossing borders, in Catrece’s case finding ways to present facets of herself that are not expected in the spaces she finds herself in — as a Filipina, as an arts activist, and as a woman passionate about her art.
Header Image: Caged Heart by Catrece Ann Tipon | 5837 x 3891 Digital Photography, 2020
Catrece Ann Tipon
Catrece Ann Tipon and I met months ago at Asian Pasifika Arts Collective’s virtual event “All American Asians.” Catrece is a freelance photographer and dedicated nurse residing in Baltimore, MD, and serves as APAC’s Co-Executive Director, where her contributions have been monumental to the organization's outreach and development.
From the start, I was immediately drawn to her warm and caring nature. What started out as strangers Zooming in from opposite ends of the country became a friendship built on online rapport and like-mindedness.
When I initially sat down with her for this interview, I was struck by her humility. Despite her numerous accomplishments, Catrece remains down-to-earth and passionate about everything she does—whether it’s nursing, photography, dance, music, or APAC. As you read on, I hope her work inspires you as it did me. I hope you get a glimpse of what I think defines Catrece as a person, her commitment to serving others.
What interested you in photography?
Since I was young, I've always been interested in taking pictures, whether it’s with my parent’s digital camera or cell phone. I am a visual learner with a somewhat short memory, so the best way for me to remember anything and everything is through pictures.
When I got into college my parents surprised me with my first DSLR camera. Once I ‘accidentally’ broke two of their digital cameras, they got me my own. Since everyone thought I had a nice camera, they kept asking me to take their pictures. As I kept doing it more, I got hired for gigs which made me want to push in this medium further.
How did you get involved in founding APAC?
I moved to Baltimore after I graduated college and it was there that I met Cori Dioquino through Mohammed Suaidi, APAC’s previous Co-Executive Director. She organized a meeting for AAPI artists in Baltimore to gather. Usually I’m not into these kinds of things, but something was calling me that day. I went and I was suddenly part of creating a non-profit from the ground up.
Honestly, APAC has been such a blessing in my life. It’s given me opportunities I never thought would happen to me so I can only hope we do the same for others. Ultimately, that's what we as AAPI artists want – an opportunity just like everyone else. If we can give that to them, we’ve done our job.
What experiences did you have growing up that inform your decisions as an artist and a leader for APAC?
Both my high school and college experiences were really critical in my development as a Filipino-American [artist]. I was born and raised here, but I was caught in the middle of being an American and being Filipino. Growing up, I felt [as if] I wasn’t allowed to be myself and I just tried to be like everyone else. I didn’t start claiming my own Filipino identity until I went to college and started running a Filipino organization. I went to Catholic University, which is predominantly caucasian, and joined FOCUS (Filipino Organization of Catholic University Students). For the first time, I was around people who understood that part of my identity and [what it was like] growing up in an immigrant family. Because we were a minority, we always had to fight for our presence at school. We only succeeded because we threw ourselves into our work and were so passionate about being heard. This fervor for representation, along with a new understanding of personal identity, taught me how to approach my own culture and identity as a Filipino American and as a POC. I realized my voice matters, I matter.
Why did you choose to become a nurse?
As both my parents are medical professionals, I got caught in Filipino tradition. The healthcare field wasn’t necessarily my first choice but that's what I thought I was [supposed to go] into. Because I did it out of tradition and expectation, nursing school was hard. I didn’t want to study it, but I loved the idea of helping people. So I kept at it. My love for nursing came after I graduated. Even if the job is hard sometimes, the idea of helping people motivates me. Something as simple as holding their hand or giving them pain medication to ease some of their suffering [helps].
As a nurse and a photographer, how do you balance both careers?
With nursing being even more stressful than usual nowadays, photography has really helped calm my nerves. Now more than ever, I really appreciate my art because of everything that’s going on. What I love most about both jobs, though, is that I have the chance to meet so many people. What makes them both so interesting of a combination is that I see both sides of the emotional spectrum. I see them at their worst when they’re sick but I also see them at their best when they’re smiling and confident.
You were also a dancer and musician growing up. How long did you study dance and music?
I used to dance for sixteen years and I thought I would stop dancing after graduating high school. But after joining a Filipino club in college, I instantly became lead choreographer and dance teacher.
Additionally, I played piano for two years and clarinet for four years as part of the school band. I started teaching myself how to play the piano again in 8th grade, and started playing as an accompanist my second year of high school. I also won two awards at two competitions. I ended up taking up clarinet performance as a minor while I was studying to be a Nurse.
Catrece with her dance team.
Are there any artistic similarities/differences to your work as a photographer and dancer?
As a photographer, I see body movements in a different light because of my experience from dance. I don't just see body parts that need to be posed, I see a shape that could be created with the body as a whole. My goal is to frame that shape in a way that is pleasing to both the model and the viewer. Just like in dance, I try to tell a story visually.
What is the most memorable moment you have had dancing ?
One of the other organizations at our school asked us to dance at their event. From that gig, we were discovered by a dance studio in DC and they invited us to perform in their mixer party. We didn’t even have a name or a logo; we were just dancing. That night, we performed for over a hundred artists and it was cool. To have been invited to perform for them was very big for me and it boosted my confidence big time.
Why is this year’s theme “Crossing Borders” important to you?
As an artist, I felt as though 2020 gave me a reason to go back to something I love: photography. Like others, I’m in the process of rebranding myself so I wanted to go back to my roots and properly learn how to be a photographer.
In terms of APAC, 2020 forced us to look within and see what we could do in this new world. Ultimately, it became the blessing we needed. With everything turned virtual, it’s given us an opportunity to not only broaden our audience but also try and reach vast heights as an organization.
See this and other pieces from Catrece’s New Beginnings Gallery here.
How does the theme “New Beginnings” resonate with you?
After the pandemic started, I essentially had to restart and rebrand myself as a photographer. The time has really allowed me to hone in on exactly what I want to do as a photographer and the style I wanted to do it in. It’s allowed me to reconnect with people. The pandemic is also the reason why I was able to go back to school to study photography while working as a full-time nurse, because everything was online and more manageable.
When I was figuring out what to submit [for our art gallery], I was drawn to highlighting immigrant stories. I really admire them because they represent what it means to start new, to start building a life from basically nothing. The photo of Charles - he and his family came from Kenya and his whole family started a new life here. I decided to [include] pictures of the protest to change Christopher Columbus Day to Indigenous People’s Day - to end celebrating a horrible figure in history and start remembering and honoring the native people of this country. Cori’s portrait I included because of her personal story as an immigrant.
I think these stories are important because we need to learn to understand each other, now more than ever.
Do you have a message to fellow AAPI artists?
I've always believed that each person has their own journey and neither life expectations nor societal standards should dictate what you do at a certain point in your life. Only you can decide who you’re going to be and how you're going to get there. However long it takes for you to succeed in whatever it is you're passionate about, make sure to set yourself up for happiness. And remember that negative events happen for a reason, whether it’s to help you grow and get you where you want to be. Use those negative experiences as motivation to become a better version of yourself.
To see Catrece’s work, or to book her as a photographer, check out her website.
About the Author:
Precious Ringor is a Filipino-American singer/actress/writer residing in Los Angeles, CA. Ringor graduated from Cal State University, Fullerton with a degree in Human Communication Studies where her research is geared towards Asian American socio-cultural communication norms. Besides performing in various theatre shows and indie film sets, Ringor also works as a content contributor to Film Fest Magazine and Outspoken.
Images provided by interviewee.
