When word got around that Jehu Peria had clinched the Champion title at the 29th Panaad sa Negros Visual Arts Contest, there was a collective cheer—not just from his classmates, but from his professors, mentors, and the school administrators who’ve seen his quiet, determined growth through the years.
But Jehu isn’t just an artist. He’s a storyteller, a researcher, a cultural worker. And through his art, he’s giving voice to the fields, the workers, and the unspoken narratives of Negros Occidental.
“Jehu’s work is not just aesthetically captivating—it’s deeply grounded in a sense of purpose and place,” says Sr. Flolyn S. Catungal, OSA, President of La Consolacion College Bacolod. “He represents the kind of student LCCB is proud to form: rooted in heritage, forward-looking, and passionately creative.”
Jehu’s winning piece was inspired by arima, the casual exchanges among sugarcane workers before a day’s toil. For most, it’s a fleeting moment. For Jehu, it became a powerful metaphor.
“Coming from a small town and a simple life,” Jehu shares, “I’ve witnessed how sakadas gather and converse before starting their work—an exchange known as arima. That moment, that tradition, inspired me to appreciate the people and experiences that shaped me.”
The painting itself, layered in earth tones and emotion, is a meditation on the past and a call to remember. “The stories and scenes from the sugarcane plantations hold deep meaning,” he explains. “They serve as a light for the future, reminding us that no one should be left behind.”
But this year’s Panaad wasn’t just about a trophy. Jehu also led the design of the Balay Kalamay exhibit—a meticulously crafted visual identity for the sugar cultural landscape of Negros Occidental. This wasn’t just an assignment. It was part of his thesis, which now plays a vital role in the province’s UNESCO bid for heritage recognition.
“To be entrusted with this kind of work as a student—it’s humbling,” Jehu says. “I studied the history, talked with cultural workers, and translated that into branding that is both factual and meaningful.”
His professors at ARFIEN aren’t surprised. Over the past five years, Jehu has stood out not just for his technical skill but for the sheer heart he puts into every piece.
“ARFIEN has been my backbone,” he says with visible gratitude. “It’s helped me grow emotionally and creatively. But more than anything, it taught me to never compare my progress with others. The only ingredient I’ve ever had is love for what I do.”
It’s not often you meet a young artist who speaks more about meaning than acclaim. For Jehu, success is not about applause—it’s about impact.
“My goal has never been to impress but to express,” he reflects. “I want to create pieces that resonate, that make people pause, reflect, and feel. Whether it’s history, resilience, or hope, each brushstroke carries something worth remembering.”
To those who visited Panaad and walked through the Kalamay Pavilion, many may not have realized that the elegant, culturally rich visuals were the work of a student. But to us at LCC Bacolod, it wasn’t surprising at all. It was simply Jehu being Jehu—creating with purpose, grounded in faith, and painting his way toward a future that honors the past.
And if you ask us, the future of art, culture, and design in Negros looks incredibly bright—with Jehu Peria leading the way, brush in hand.