Learn about St. Malo and the Art Nelson Left Behind in 2026!

Belongings

Introduction

Part I. Bayanihan: The Spirit of the Good Neighbor

Part II. Kapwa: The Shared Inner Self

The "Quiet Exchange" (1978): The DeHart-Baldemor Connection

Part III. Pasalubong: Bringing Home the Philippines

Manuel Baldemor Exhibit Poster, Books and UNICEF Cards

Manuel Baldemor Prints

Manuel Baldemor Paintings

Resources

Introduction

Nelson Baldemor of Danville, Virginia, was a Filipino American whose life was tragically cut short in a hit-and-run accident in 2021. While few public details about his personal or professional life are known, his legacy endures through the belongings he left behind. Collected by his neighbor, Maria Lourdes Pérez Muñiz, these items he treasured include a mother’s autobiography, letters, dress, photograph album, early 20th-century photographs of the Philippines by a news photographer, and works by his cousin, the renowned Filipino artist Manuel Baldemor.

Nelson carefully maintained these pieces as symbols of family pride and as tangible connections to the Philippines, his country of origin. Together, they offer a deeply personal narrative that extends into the broader Filipino diasporic experience. Through these intimate traces of one life, the Belongings exhibition explores memory, heritage, and the enduring power of art to convey stories beyond absence. Visitors are invited to reflect on what endures, what is remembered, and how personal and cultural histories intersect through the objects we leave behind.

Autobiography by Dr. Anita BaldemorFilipino, born in Sta. Ana, Manila, Philippines, b. 1921-?document8.5" x 11"
Letter by Robert Dempsey DeHartAmerican, Danville, Virginia, 1919-1992document8.5" x 11"
By preserving his mother’s autobiography and a letter from a photographer, Nelson honored the stories and memories they carried, reflecting the care and value he placed on these intimate connections.

Universal Community Principles essential to the Filipino Sense of Self

The collection embodies precious reminders of Family and the Philippines, capturing the sense of self of the Filipino diaspora. Key Filipino themes that also speak to universal community principles include:

Bayanihan (Communal Unity & Cooperation): derived from the tradition of neighbors helping move a house, it is the concept of voluntary, cooperative effort to support others in need without expecting a reward.
Kapwa (shared self): is the concept of the recognition of a "shared inner self," where one sees the "other" not as a stranger, but as a part of oneself. It bridges gaps between different people to create a sense of connectedness.
Pasalubong (a homecoming gift): is the concept of bringing back gifts or souvenirs of a travel; it is a tangible sign of thoughtfulness that says, "I was away, but I remembered you."

These concepts are essential to the stories left behind by Nelson Baldemor.

Part I. Bayanihan: The Spirit of the Good Neighbor

"Bayanihan is the spirit of communal unity—helping a neighbor carry their burden without expecting a reward."

Rooted in the Filipino words bayan (community) and bayani (hero), this value is traditionally symbolized by neighbors volunteering to lift a family's nipa hut and move it to a new location. It teaches that no load is too heavy when carried by the many. In this exhibit, we celebrate the Bayanihan spirit found in the USA, where a neighbor stepped in to carry the weight of a legacy that was nearly lost.

Maria to the Rescue

Following Nelson Baldemor’s sudden passing in 2021, his home was cleared, and his belongings faced an uncertain future. With no next of kin to claim them, his personal history was at risk of being discarded. The police found a phone number on the desk of the house and called Maria Lourdes Pérez Muñiz, Nelson’s neighbor.. Though she is Puerto Rican and not Filipino, she embodied the Bayanihan spirit by salvaging these boxes of photos, letters, and art, hoping they would "find meaning beyond loss". Just as villagers carry a physical house to safety, Maria carried the "house" of Nelson’s memory to Chiara Cox. This single act of being a "good neighbor" prevented the erasure of a Filipino-American story, proving that community is defined not by blood, but by care.

The "Found Story" and the Vessel of Memory

The heart of this collection lies in an unexpected encounter in May 2025 between organizer Chiara Cox and Maria Lourdes Pérez Muñiz.

The spark for this exhibition began with an unexpected encounter. After a Filipino cultural event in May 2025, I was approached by Maria Lourdes Pérez Muñiz, a Puerto Rican woman carrying a small bundle of artwork once belonging to her late neighbor, Nelson Baldemor—a Filipino American who passed away suddenly in Virginia in 2021. With no next of kin to claim his belongings, Maria salvaged a few pieces, hoping they would one day find meaning beyond loss.

Months later, as I began organizing, framing, and photographing the works, I shared my progress with her. Her reply—“Today is Nelson’s birthday”—transformed the project from a simple act of preservation into something deeper. This exhibition now serves as an homage to Nelson’s life and legacy, and a reflection on the ways art endures as a vessel for memory, identity, and connection. It invites us to consider how stories continue to unfold long after their subjects have passed—and how, through art, we remain linked across cultures, generations, and time.

~ Chiara Cox ~

Part II. Kapwa: The Shared Inner Self

"Kapwa means 'I am who I am connected to.' It is the recognition that we are not separate from one another."

In Filipino psychology, Kapwa is the core value of "shared identity." It bridges the gap between Ibang-tao (outsider) and Hindi ibang-tao (one of us). It asks us to treat others not as strangers, but as extensions of ourselves. In this gallery, we explore how two people —separated by background and profession—found their Kapwa through the memory of a distant land.

The "Quiet Exchange" (1978): The DeHart-Baldemor Connection

A centerpiece of the archive is a series of untitled, black-and-white photographs from the first half of the 20th century. These images were gifted to Nelson’s mother, Dr. Anita Baldemor, in 1978 by Robert Dempsey DeHart, an American news photographer who was working as a security guard at her workplace. This "quiet exchange" represents a profound cross-cultural appreciation of the Philippines and serves as a tangible connection to Nelson’s country of origin.

The Photographer Dempsey DeHart's letter to Dr. Anita Baldemor, Nelson's Mother

The Guard and the Doctor In 1978, at a workplace in Danville, Virginia, a "quiet exchange" took place that defied typical social hierarchies.

• The Guard: Robert Dempsey DeHart (1919–1992), an American who worked as a security guard.

• The Doctor: Dr. Anita Baldemor (b. 1921), a Filipino immigrant and practicing physician.

Though their roles were different, DeHart recognized a shared history with Dr. Baldemor. He had previously been a news photographer in the Philippines during the first half of the 20th century. By gifting her his personal archive of 8" x 10" black-and-white photographs, he shared "a glimpse into his own world," recognizing that his past was part of her identity. This act was Kapwa in motion—a recognition that despite their differences, they were connected by a shared love for the "rhythms and textures" of the Philippines.

Endurance through the Archive

Today, DeHart’s legacy has transitioned from a private family treasure to a public historical resource. His photographs are central to the "Art Nelson Left Behind" exhibition, where they serve as primary source fragments that help explore themes of memory, identity, and the ways stories continue to unfold across generations and cultures.

DeHart’s legacy is like a bridge built from light and shadow. Though he transitioned from capturing news in the Philippines to guarding a medical facility in Virginia, his photographs created a permanent path that allowed the Baldemor family—and now the public—to travel back to a specific time and place in Filipino history.

Robert Dempsey DeHart

American, Danville, Virginia, 1919-1992

Untitled, first half of the 20th century

Black and white photographs of the Philippines

8" x 10"

Given by the photographer to Dr. Anita Baldemor in 1978.

These images allowed Dr. Baldemor and her son Nelson to see the Philippines and their culture through DeHart’s eyes.

Visual representation of Kapwa can be seen especially in the Mass in the Philippines image with a multitude of people gathered in shared faith and space.

Visual Timeline: A Century of Connection

• Early 1900s (The Philippines): Robert Dempsey DeHart documents the Philippines as a news photographer, capturing images of "Church/Mass," "Markets," and daily rituals.

• 1921 (Manila): Anita Baldemor is born in Santa Ana, Manila.

• 1978 (Danville, VA): The Intersection. DeHart, now a security guard, gifts his photographs and a personal letter to Dr. Anita Baldemor.

• 1978–2021 (The Home): Nelson Baldemor carefully maintains the photos as "tangible connections" to his heritage and family pride.

• 2025 (The Rescue): Maria Lourdes Pérez Muñiz (a neighbor) recognizes the value of the collection, extending the chain of Kapwa to a new generation.

In-Person Visitor Activity: The Connection Board

Interactive Prompt: Kapwa teaches us that we find ourselves in others. Robert DeHart connected with Dr. Baldemor through photographs of her home country. How have you connected with someone unexpectedly? Think about a time you found a surprising connection with a stranger or someone from a different background.

Instructions:

1. Take a tag and a pin.

2. Write a brief note about a time you found a surprising connection with a stranger or someone from a different background.

3. Pin it to the board to weave our own community tapestry of Kapwa.

Virtual Visitor Activity: The Connection Board

Instructions:

1. Take a photo of an object that reminds you of this special person.

2. Upload the photo on your social media pages with a brief note about a time you found a surprising connection with a stranger or someone from a different background.

3. Help us weave our own community tapestry of Kapwa by using #CarolinaKapwa

Part III. Pasalubong: Bringing Home the Philippines

Pasalubong is a tradition where a traveler brings gifts to family and friends

to strengthen bonds and share the experience of their journey.

"Pasalubong is a way to say 'I was away, but I remembered you.'"

In Filipino culture, no traveler returns empty-handed. The tradition of pasalubong—a homecoming gift—is more than a souvenir; it is a tangible sign of thoughtfulness that says, "I was away, but I remembered you.". While typical pasalubong might include sweets, the gifts Manuel Baldemor gave to his family in Virginia were far more enduring: he brought them the "rhythms and textures" of the homeland itself.

For Nelson and Dr. Anita Baldemor, living in the quiet of Danville, Virginia, these artworks served as the ultimate pasalubong—a way to bridge the distance between the diaspora and the enduring stories of heritage that art can carry across time and distance. By viewing these works as gifts of home, we understand why Nelson treasured and carefully maintained them. They were not just decorations or a reflection on cultural memory or an expression of family pride; they were most importantly the "embrace" of a cousin who returned to them, again and again, through the medium of art.

Manuel Baldemor

Filipino, born in Paete, Laguna, Philippines, b. 1947

colored photograph

3.5" x 5"

This photograph of the celebrated Filipino artist Manuel Baldemor was cherished by his cousin Nelson.

Manuel Baldemor (b. 1947) is a celebrated Filipino painter, sculptor, printmaker, writer, and book illustrator whose work has become emblematic of Filipino artistic identity. Known for his distinctive stylized forms, vibrant colors, and geometric compositions, Baldemor often draws on the rhythms and textures of rural Philippine life, capturing scenes of everyday work, festivals, landscapes, and community gatherings. His art celebrates the Filipino people—their resilience, warmth, and deep connections to family, tradition, and homeland—while also addressing universal themes of memory, belonging, and human experience. Over decades, his work has been exhibited nationally and internationally, earning recognition for its unique ability to blend personal narrative with collective cultural memory.

Manuel Baldemor Exhibit Poster, Books and UNICEF Cards

Baldemor has had numerous shows at the Philippine Center in New York City. Here is a link to his most recent show in 2015.

Baldemor has been a contributing artist for UNICEF Cards for almost 20 years, introducing the world to the beauty of the Philippines and the colors of our people. Here are some of the cards from Manuel's own correspondences to his family that Nelson collected using his global platform to bridge the gap between fine art and personal correspondence.

Manuel Baldemor Prints

Manuel Baldemor

Filipino, born in Paete, Laguna, Philippines, b. 1947

Cañao Dance, 1983

handsigned and dated

artist proof etching in original frame by artist

10" x 10"

The Cañao, or Kanyaw, is a traditional festival of the Igorot peoples of Benguet in the Cordillera Mountains of Northern Luzon. It is a thanksgiving ritual offering pigs, chickens, cows, or carabaos to their deity, Kabunyan. Music, dance, and communal feasting mark the celebration. In this etching, a couple dances at the center, wrapped in handwoven textiles, as gong players and onlookers gather against the backdrop of the mountains—a vivid portrayal of unity, rhythm, and reverence.

Manuel Baldemor

Filipino, born in Paete, Laguna, Philippines, b. 1947

Food on the Roof, 1983

handsigned and dated

artist proof etching in original frame by artist

10" x 10"

This etching depicts families gathered inside their bahay kubo—traditional houses made of bamboo and palm leaves. In the center, an array of dishes and clay pots is spread across the rooftops, forming a grand communal meal. The scene celebrates the Filipino tradition of shared meals, a symbol of family connection, abundance, and gratitude.

Manuel Baldemor

Filipino, born in Paete, Laguna, Philippines, b. 1947

Jeepney, 1983

handsigned and dated

artist proof etching in original frame by artist

10" x 10"

A symbol of Filipino ingenuity and identity, the Jeepney was born from surplus U.S. military jeeps left after World War II. Transformed into brightly decorated vehicles with parallel benches for passengers, they became both practical and expressive works of art. Today, Jeepneys remain the most popular—and iconic—form of public transportation in the Philippines.

Manuel Baldemor

Filipino, born in Paete, Laguna, Philippines, b. 1947

Good Harvest, 1983

handsigned and dated

artist proof etching in original frame by artist

10" x 10"

In this print, women in the foreground hull rice, while a kerosene lamp illuminates a dish of fish beside them. Behind, a mother and child gaze from the window of their bahay kubo—a traditional home made of bamboo and palm leaves. The scene celebrates the abundance of daily life, reflecting the deep cultural importance of rice and fish—essential sustenance and enduring symbols of Filipino resilience and community.

Manuel Baldemor

Filipino, born in Paete, Laguna, Philippines, b. 1947

Harvestime, 1983

handsigned and dated

etching 26/32

14 3/4" x 17"

This print depicts families in their bahay kubo—traditional houses made of bamboo and palm leaves—engaged in various stages of planting and harvesting. At the center stands a fruit-bearing tree surrounded by villagers gathering its bounty. The scene symbolizes the communal effort of nourishing a barangay, or village, reflecting the spirit of cooperation that sustains Filipino life.

Manuel Baldemor

Filipino, born in Paete, Laguna, Philippines, b. 1947

Lambingan Bridge, 1983

handsigned and dated

etching 25/32

14 3/4" x 17"

In Tagalog, lambing means the act of showing affection or tenderness, while lambingan refers to the warmth shared between two people. At the center of this print is the Lambingan Bridge, connecting two sides of a lakeside village. Around it, families fish, cook, share meals, and rest together—simple gestures of love woven into daily life. The bridge becomes a symbol of connection and affection, reflecting the central place of love and togetherness in Filipino culture.

Manuel Baldemor Paintings

Manuel Baldemor

Filipino, born in Paete, Laguna, Philippines, b. 1947

Untitled, 1986

mixed media in original frame by artist

18.5" x 16"

This painting depicts a Filipino brass band, with musicians dressed in colorful shirts, sombreros, and handkerchiefs. Brass bands became a beloved feature of Philippine towns, evolving from Spanish colonial military ensembles into vibrant local traditions. Originally trained by Spanish military musicians, Filipino performers later formed their own community groups that played European, American, and local music. By the early 20th century, these bands had become the heartbeat of civic life—performing at religious festivals and parade. The scene celebrates music as a unifying force in Filipino culture, blending colonial influences with local creativity and joy.

Manuel Baldemor

Filipino, born in Paete, Laguna, Philippines, b. 1947

Untitled, 1986

mixed media in original frame by artist

18.5" x 16"

The carabao, or domestic water buffalo, is a national symbol of the Philippines—representing strength, perseverance, and the hardworking spirit of its people. The carabao is vital in rural life, providing farmer's with power, milk, and meat. In this painting, however, the animals are shown at rest—swimming and grazing peacefully in fields—offering a rare, tender glimpse of tranquility.

This signed work was a birthday gift from the artist to Dr. Anita Baldemor, the mother of Nelson.

The objects we choose to keep reflect what we hold dear.

These works of art by his cousin were treasured by Nelson as enduring symbols of family and the Philippines.

In-Person Visitor Activity: The "Pasalubong" Postcard Station

Concept: Since visitors cannot physically travel to the Philippines, this activity invites them to treat the exhibit itself as the destination. Just as Manuel Baldemor used his art to bring the "rhythms and textures" of the Philippines to his family in Virginia, visitors will select an image from the gallery to "bring home" metaphorically to someone they love.

Station Setup: A small writing table featuring coloring book type Filipino images.

Materials Needed:

Coloring Book Images (featuring Filipino images such as Jeepneys, landscapes, bahay kubo, and more).
Pens/Pencils.
A community wall.

The Prompt:

"Pasalubong is a way to say 'I was away, but I remembered you.'"

Manuel Baldemor gave his artworks to his family as pasalubong—gifts to bridge the distance between them.

Choose an image that reminds you of someone you love.
Write a note to them on the back.

Tell them why this image made you think of them. (Example: "I saw this Jeepney and thought of our road trips," or "I saw the communal meal in 'Food on the Roof' and missed your cooking.")
Include where your loved one is and where you are–to illustrate the physical distance between you two and how, despite the distance, your love and memories prevail.

Leave it on our "Community Wall" to share the connection. Take it with you to snail mail to them later.

Why this works:

It operationalizes Kapwa: By asking visitors to think of someone else while viewing the art, it reinforces the concept that "the self is not separate from others".
It mirrors the collection's history: It replicates the "Quiet Exchange" between Dempsey DeHart and Dr. Anita Baldemor, where an image was used to share a world.
It is accessible: Pasalubong can be as simple as a sweet or a souvenir; this activity allows visitors to participate in the tradition without cost, using the "memory" of the art as the gift.

Virtual Visitor Activity: The "Pasalubong" Postcard Station

Digital Setup: Coloring app on a smartphone.

The Prompt:

"Pasalubong is a way to say 'I was away, but I remembered you.'"

Manuel Baldemor gave these artworks to his family as pasalubong—gifts to bridge the distance between them.

Take a photo of an image in the collection that reminds you of someone you love.
Tag a friend(s) and post it on your wall or a friend's wall on social media with the hashtag: #pasalubong #filamhistorymonth Write a note to tell your friend(s) why this image was important to you and why it reminded you of home and/or your friendships.

Why this works:

It operationalizes Kapwa: By asking visitors to think of someone else while viewing the art, it reinforces the concept that "the self is not separate from others".
It mirrors the collection's history: It replicates the "Quiet Exchange" between Dempsey DeHart and Dr. Anita Baldemor, where an image was used to share a world.
It is accessible: Pasalubong can be as simple as a sweet or a souvenir; this activity allows visitors to participate in the tradition without cost, using the "memory" of the art as the gift.

To view the exhibit, please click here:

Photos by Dempsey DeHart

Works by Manuel Baldemor

Resources

Historical and Sociological Significance

The collection provides rare primary source material for the study of 20th-century Filipino-American life:

• The DeHart Archive: Includes 8" x 10" black-and-white photographs of the Philippines from the early 1900s and personal correspondence from photographer Robert Dempsey DeHart.

• Biographical Records: An 8.5" x 11" autobiography by Dr. Anita Baldemor (b. 1921), offering a firsthand account of a Filipino professional's life in the United States.

• Artistic Merit: Original works by Manuel Baldemor, providing a connection to significant contemporary Philippine art.

Provenance and Preservation

The collection's provenance is fully documented, originating from the home of Nelson Baldemor in Danville, Virginia, and preserved by Maria Lourdes Pérez Muñiz. This transition from "left behind" items to a curated exhibit explores themes of absence, heritage, and what endures through the objects we treasure.

Technical Specifications

• Primary Documents: Autobiography (8.5" x 11"), Correspondence (8.5" x 11").

• Photographic Media: 8" x 10" silver gelatin or news-print style photographs.

• Curatorial History: Proven public interest with a roadmap of exhibits through 2026.

Lead curator: Chiara Cox

Chiara Cox a multidisciplinary artist, educator, and cultural leader who serves as the curator and organizer of the "Art Nelson Left Behind" exhibition. Guided by her Filipino heritage, she dedicates her career to amplifying Filipino voices, producing events and managing curated collections that travel throughout the Southeastern United States to educate audiences on cultural pride and the preservation of indigenous craftsmanship. As the curator for this specific collection, Cox decided to transform an unexpected encounter with salvaged belongings into an homage to the Filipino diasporic experience and explore how art endures as a "vessel for memory, identity, and connection". To elevate the exhibit beyond a simple display of artifacts, she chose to highlight the humanistic Filipino values of Bayanihan (communal unity), Kapwa (shared identity) and Pasalubong (homecoming gift). Visitors are then invited to reflect on what is remembered and how our personal and cultural histories intersect through the objects we leave behind.

Assistant Curator: Car Aldana

Car Aldana is an art historian and multidisciplinary artist from Florida committed to inspiring and connecting people through creativity, visibility, and education. His art historical interests include contemporary and Asian art, especially through lenses of decoloniality and ecocriticism. His writing can be found on the mapping website Baroque Without Boundaries where he highlighted the Philippines’s role in the global transculturation of the early modern era. His artwork, which has been exhibited in Florida and Ohio and published in Fruitslice, explores themes of gender, ecology, and time.