Tuesday, September 13, 2005

4TH Philippine International Performance Art Festival (UGNAYAN '05)

“Performance Art is an infinitely varying, enormously wide-ranging and yet an enigmatic activity. It may be read as an endless permutation of an individual action; a subtle equivalent of the spoken and written word. Performance Art is one of the most potent, intuitive and yet highly evolved strategy that can be used to comprehend the unknown. Performance Art is an expressed desire and a declared ACTION with a singular intent of heightening the consciousness of its audience."
-Yuan Mor'O Ocampo, Founder & Artistic Director of UGNAYAN PIFAP '05

Challenging the orthodoxies and the conventions of Fine Art practice, performance art crosses the boundaries and subverts the normative practice of aesthetic expression, says Yuan Mor’O Ocampo, the founder and artistic director of the 4th Philippine International Performance Art Festival with its theme “UGNAYAN ‘04”.

UGNAYAN '05 PIPAF Participants Meeting at Kanlungan ng Sining

Yuan Mor'O Ocampo at UGNAYAN Meeting, Photo by Wawi Navarroza

The convergence of seventy-eight local and international artists on September 18 – 22, 2005 at the seven locations in Metro Manila signifies the redefinition of traditional art making within the Philippine art and culture.

Mor’O Ocampo is passionate to say that, “The 4th PIPAF was conceived, as an event for the artists, to reconstruct through their performative actions the "invisible in the visible", as a venue-for-exchange – a "meeting point" between and among national and international performance artists. “UGNAYAN’05” bolsters that urgent desire to reintegrate art and life, and to reaffirm and re-identify with our own cultural roots.”

The five-day event is composed of 3 components, namely, (1) LIVE ART PERFORMANCES with an opening salvo on September 18, 2004 at the Kanlungan ng Sining, the home for the Art Association of the Philippines (AAP) at Rizal Park; (2) EDUCATIONAL COMPONENT, in cooperation with the participating institutions such as the University of the East and the Far Eastern University, the local and international artists will engage in ART DIALOGUE with students and teachers on September 19 and 21 respectively; Dance Forum Space in Cubao, Quezon City on September 19; the Kuquada Art Gallery in Cubao, Quezon City; and the Rajah Sulayman Park, in cooperation with the City Government of Manila, on September 22, 2005.

Danny Sillada’s Claiming My Vertical Space Between the Earth and the Sky, Photo by Teza Cornes © 2005.

sillada 3

The third component is the ART FORUM with its thematic discussions “Engaging the Public Sphere” and “Live Art as Cultural Strategy”, which focus on how government art institutions and alternative / artists-run spaces address their “audience” in contemporary art scene keeping in mind the context of shifting Asian identities in contemporary art. It will be hosted by the Ateneo Art Gallery at the Ateneo de Manila University, Loyola Heights, Quezon City from 9 am to 6 pm, September 20, 2005.

International Artists Akiyo Tsubakihara (Japan), Andres Stitt (Cardiff, Wales), Arnulfo Tikb-ang (Australia), Chumpon Apisusk (Thailand), Kai Lam (Singapore), Lee Wen (Singapore), Marilyn Arsem (USA), Sakiko Yamaoka (Japan), Tony Schwensen (Australia), Yeh Tzu-chi (Taiwan) and Yoyoyo Gasmana (Indonesia) are scheduled to perform in the 4th PIPAF.

International Artist Marilyn Arsem, Photo courtesy by Yuan Mor’O Ocampo.
International Artist Marilyn Arsem's Lying, photo provided by Yuan Mor'O Ocampo

Forty-three and time-based artists (individual and collective) from the Philippines are Adelle Victoria, Alan Rivera, Alwin Reamillo, Arnel Ramiscal, Bogie Tence Ruiz, Boyet de Mesa, Bryan Lonop, Buddy Ching, Danny Sillada, Donna Miranda, Felimon Blanco, Gary Chong, Gio Respall, Ian Lomongo, Jay Cruz, Jeho Bitancor, Jetro Jocson, Jevijoe Vitug, Juan Crisostomo, Judy Freya Sibayan, Kaye O’Yek Daya, Lorina Javier, Mannet Villariba, Jay Cruz, Jeho Bitancor, Jethro Jocson, Jevijoe Vitug, Kaye O’Yek Daya, Lorraine Javier, Marge Francia, Marlon Magbanua, Mervin Espina, Mideo Cruz, Mitch Garcia, Myra Beltran, Neo Angono Collective, Noel Pama, Sr., Patrick Chong, Paul Morales, PLM Hiyas Ng Maynilad, Raul Alcoseba, Rommel Espinosa, Ronaldo Ruiz, Teza Cornes, Vim Nadera, Walter Ladera, Wawi Navarroza, Wire Tuazon, Yuan Mor'O Ocampo and the World Dance Alliance-Philippine Choreographer’s Network will be featured in UGNAYAN ’05.

The 4th PIPAF is sponsored by the City Government of Manila in cooperation with the National Commission for Culture and the Arts (NCCA), Japan Foundation Manila (JPM), Art Association of the Philippines (AAP), the On-the-Spot Artists’ Association (OTSAA), Metrobank Foundation, Ateneo de Manila University, Far Eastern University, University of the East, Kuquada Art Gallery, Lumiere Gallery and the Dance Forum Space. For more details and inquiry, please visit http://www.ugnayan.motime.com/ or email: liveartmanila@yahoo.com.

Yuan Moro Ocampo's The Shadow, performed in Denmark.

Yuan Moro Ocampo's The Shadow



Wednesday, July 06, 2005

Painting the political crisis

Republished from The Manila Times
Menstrual Period in Political History by Danny Sillada
60 X 48” on Metamorphic Rock, 2005
2. Menstrual Period in Political History 2005
Blue, red, and yellow—the colors of the Philippine flag—fill his canvases. He alludes a woman’s menstrual period to the country’s cyclic political turmoil, and he sprinkles it with satirical images to boot.

Former seminarian Danny Sillada has sure found the perfect timing to unveil his political artworks from 1998 to present. Beginning July 4, The Collection will be on view at The Podium in Mandaluyong City.

Included in the suite of selected paintings is the controversial “Menstrual Period in Political History,” a 4 x 6 feet artwork on an expensive metamorphic rock.

An abstract surrealist, Sillada is known for his sensational paintings on anatomical figures, biomorphic forms and the cross. The poet-painter, former San Carlos Seminary formator and faculty member, will also launch a chapbook of poems and hold a poetry reading at the opening of his show.

IN THE BEGINNING and SUICIDE NOTE (FOR SALLY) by Danny Sillada
IN THE BEGINNING, 2004 21 X 16 SUICIDE NOTE (FOR SALLY), 2004

Sillada is a recipient of Pasidungog Centennial Award in the fields of Literary and Visual Arts in his hometown in Davao. He is the author and thread starter of a well-visited forum on the web, dubbed The Nostalgic Idea of God at Philosophy News Service.
He had also written a controversial philosophical treatise on metaphysics The Absence of Fundamental Choice, and other writings such as The Philosophy of Waiting and The Existential World.

Hatching Peace in My Troubled land by Danny Sillada
40 X 30” Oil on Canvas, 2003.
Hatching Peace in My Troubled Land, 2003

Sillada left his priestly vocation 14 years ago to embrace a calling for the arts. He obtained his degree on Philosophy at the Queen of Apostles College Seminary, Davao; his theological and postgraduate studies at the University of Santo Tomas, Manila; and his MBA at the Ateneo Graduate School of Business, Makati.

Tuesday, May 24, 2005

DANNY SILLADA: Images Upon the Rocks

images upon the rocks
By Carmencita H. Acosta
What’s On & Expat, May 22-28, 2005

Poetry of Nails & Blood: A Tribute to Pope John Paul II, 2005
Nails, Acrylic & Rubber Paint on Board & Metamorphic Rock, 50 X 40"

Poetry of Nails and Blood: A Tribute to Pope John Paul II, 50 X 40

Danny Sillada uses a unique medium on which to paint his abstract images. He shuns the conventional canvas and chooses, instead, metamorphic rocks as the recipients of the colors and images that he conjures up in his moments of artistic expression.

Imagination is the main ingredient of his paintings executed through the years and which had its beginnings many summers ago when as a growing lad in Mindanao he would watch his father create beautiful pieces of furniture in the carpentry shop.

Inkblot A by Danny Sillada, 2005
Acrylic on Canvas, 40 X 30”
12. Inkblot B
Copyright © 2005.

Sillada would pick up the pieces of paper that his father used to blot out stains from his tools. The curious boy would hold the discarded papers against the sunlight and see, not unsightly marks but symbols of reality: sometimes a human figure or a landscape; at other times, perhaps a tree or a flower.

Ecumenical Movement: A Tribute to Pope Benedict XVI, 2005
Acrylic & Rubber Paint on Metamorphic Rock, 50 X 40"
Ecumenical Movement: A Tribute To Pope Benedict XVI, 50 X 40
Copyright © 2005.

This experience has influenced his present collection of Rorschach-like inkblot images. The artist bids us to do as he had done years ago: to see symbols of real life in images, this time upon the rocks.

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the sensational ouevre
of the former man of god

By Reesy Garcia Ferrer

A One-Man Show at Ricco-Renzo Galleries
Manila, Philippines

Mystery of the Cross by Danny Sillada, 2005
Nails, Acrylic & Rubber Paint on Metamorphic Rock/Board, 40 X 30”
9. Mytery of the Cross
Copyright © 2005.

Poet, painter, philosopher, art critic and a former seminary formator Danny C. Sillada mounts his latest works, “Everything and Nothingness”.

Utilizing an expensive metamorphic rock or slate as a medium, his art has evolved into a more abstract and contemplative form. Albeit, his paintings are still in the surreal mode, he employed Rorschach-like inkblot images in relation to Sigmund Freud’s Psychoanalysis on id, ego and superego.

The inkblot series has a seeming playful and child-like quality. The viewer cannot help but take a second look at the perturbing imagery, as it offers a poignant and peculiar encounter of one’s psyche and subconscious. As a result, the psychology charged descriptions leave an indelible mark in one’s mind, and stir uneasiness and emancipation all at once.

Inkblot 04 by Danny Sillada, 2005
Acrylic & Rubber Paint on Handmade Paper/Board, 20 X 20”
Ink Blot Series 04, Acrylic on Paper, 2005
Copyright © 2005.

Sillada’s two paintings, for instance, titled “Metamorphosis” and “Adam & Eve” seem to appear as photo negatives or slides. His whimsical portrayal of imagery and symbolism is further enhanced by free-flowing strokes and unrestrained lines cascading on the sheen of metamorphic rock and handmade paper.

The resultant images of his works, according to the UP professor and art critic Reuben Ramas Cañete, are culled from manifold, eclectic sources, as diverse as his biographical experiences, exploring the depth of his tortured subconscious by juxtaposing the relationship between symbolism and experience.

Adam & Eve I Danny Sillada, 2005
Acrylic & Rubber Paint on Handmade Paper/Board, 20 X 17”
Adam and Eve, Ink Blot Series, Acrylic on Paper, 2005
Copyright © 2005.

His 6th one-man show entitled “Everything and Nothingness” is slated to open with cocktails on May 26, 2005 at Ricco-Renzo Galleries, at LRI Business Plaza, 210 N. Garcia St. (formerly Reposo), Bel Air II, Makati city, Philippines. For inquiry, please call at Tel. Nos. (632) 898-2542 to 43, Telefax (632) 898-2545 and Email at ricco_renzo@yahoo.com.

Friday, April 22, 2005

Cid Reyes: The Parallelism of Art & Women

Cid Reyes’ Demoiselles de Manille

"Cid Reyes, like a passionate lover, extols women to the heights with respect and adulation, and places them like goddesses in his aesthetics. His women are self-assured, oozing with dynamism on the surface of his canvas, bedecked with undefined forms and brilliant colors."

Buena Familia by Sid Reyes, Acrylic on Canvas, 2005
Buena Familia, Acrylic on Canvas

The essence of a woman transcends beyond space and time and like a seasoned wine, the older she gets the more she defines and completes the meaning and beauty of being woman. However, like men, she has her own conquest too, that is, to be constantly desired and adored rather than deserted like an object when youth and physical beauty wilt away.

Cid Reyes, like a passionate lover, extols women to the heights with respect and adulation, and places them like goddesses in his aesthetic creation. His women are self-assured, oozing with ineffable power on the surface of his canvas, bedecked with undefined forms and brilliant colors.

Departing from his whitish abstract paintings, Cid Reyes ingeniously combines figurative and abstract elements: the juxtaposition of female figure emerges as muse or goddess, more imposing than the brilliant and craggy surface of his canvas.

Equally thought-provoking is how he redefines the parallelisms of art, literally and figuratively, and the role of women in his aesthetics.

Tres Marias by Cid Reyes, Acrylic on Canvas, 2005
Tres Marias, Acrylic on Canvas

Here, his art raises a discursive proposition in redefining the role of women in our modern society apart from her domestic role as a mother, a wife or a daughter. A woman, for instance, is not confined to a limited function much as art is not restricted to a particular style or movement. Both have endless possibilities of becoming in what the Greek philosopher Aristotle posited in his “Act and Potency”.

At the outset, art transcends beyond space and time in as much as the role of a woman does. Art is inexhaustible, per se, but it is also limited within the realms of the artist’s creative visions. The more an artist discovers the uncharted bastion of creativity, the more he or she becomes.

In essence, it is the inexhaustible possibilities of art that makes the artist constantly evolve in the process of art-making as a woman does in her indispensable role in the post-modern society as career woman, a mother, a wife or a lover.

Poetic and metaphorical, the suite of Cid Reyes’ Demoiselles de Manille poignantly appeals to the sensual perception of the viewers, stimulating the human reason and emotion. It is metaphorical because it addresses the definition of women in the post-modern society; poetic because it reasserts the symbolic role of women within our culture and society.

Similarly, like the boundless possibilities of art and the unrestricted role of women, the artist’s quest for meaning and self-actualization goes beyond the mere functions as he relatively excels in all his endeavors

La Viuda, Unica Hija by Cid Reyes (Acrylic on Canvas, 2005)

La Viuda, Acrylic on Canvas Unica Hija, Acrylic on Canvas


As art critic and author of several art books, the man’s austerity and discipline to his multi-profession pursuits is amazingly extraordinary. Assuming different roles as executive in advertising, art writer, author and painter par excellence, elevate him to the status of a superhuman literally and figuratively.

How can the man be so creative in his art, write a regular art column on the daily paper, launch a coffee table book occasionally, and work full-time as an executive in one of the leading advertising agencies in the country?

As a painter, he is constantly contriving a fresh and dynamic expression of his art. The artist is restless until his creative power is exhausted on his canvas and, then, he starts all over again. His creative passion is more assertive though on the dynamic textures of his canvas than in the presence of this gentle and soft-spoken artist.

Equally compelling is his style of art writing and criticism, in which he masters the lucidity of inductive and deductive reasoning in a way that an ordinary person understands. In similar manner, occupying a higher position in the corporate world is both mentally and emotionally exhausting especially of one is sharing a responsibility of running the company.

The bottom line and the competitiveness in the business world lie on the competitiveness of the leaders and their moral responsibility in maintaining the quality of services to the client and to their employees.

Portrait of Cid Reyes by artist Camille Dela Rosa, Oil on Canvas, 2004.

Photo Courtesy of Camille Dela Rosa. Posted by
Hello

Cid Reyes, as the Vice President of an advertising agency, possesses the natural quality of a leader and goes out of his way by letting his subordinates come out their best creative outputs. He has his own style of leadership and his unique way of dealing with people resonates with his creative thinking.

Like the aesthetic quality of his art and writings, he infuses a creative style of management in his works, a unique quality that any corporate company should imbibe and practice.

Akin to the parallelisms between his art and his subject, the artist himself is not bracketed, in philosophical sense, to his facticity as an art critic or a painter or a corporate executive. He goes beyond all these labels and unveils himself to all the inexhaustible possibilities that a man can become within the span of his existence.

Cid Reyes is simply a creative artist of magnificent vision, a deep thinker that possesses the qualities of a Renaissance man.


© Danny Sillada

____________________

Cover girl, Debutant by Cid Reyes Acrylic on Canvas 2005)

Cover Girl, Acrylic on Canvas Debutant, Acrylic on Canvas

Tuesday, March 01, 2005

CARLO MAGNO: One of the Leading Filipino Abstractionists

FROM REALISM TO ABSTRACTIONISM
On-going One-Man Show at BMW Prestige, BMW Philippines.
The exhibit runs up to March 10, 2005, Pasong Tamo, Makati, Philippines
In his 1981 oil painting titled “Rendezvous”, realist painter Carlo Magno poignantly portrayed a nostalgic scene of lovers’ meeting place – an old church – a visual allusion to the Philippine classic Kundiman song “Lumang Simbahan” popularized by Larry Miranda.
Rendesvous, 1981, Oil on canvas by Carlo Magno.

Reprinted from the book "A Century of Realism in Philippine Art"
written by Manny Duldulao. Posted by Hello.
Rendered in a romantic chiaroscuro, the painting depicts an interior of the uppermost floor of the belfry with a huge imposing window at the center as the source of cascading light. Close to the windowsill are two wooden chairs facing each other and in-between, a single fresh rose lying on the jagged floor.

Based on the visual narrative, one can surmise that one of the lovers failed to come at the rendezvous, probably the woman, as indicative of an abandoned flower that was deliberately dropped on the floor to show the lover’s frustration to his beloved. However, one creature is visibly present at the scene – a dove standing patiently on the rail across the window with its slightly exaggerated long neck as if it were looking at a distance waiting for someone…

This emotionally charged imagery is only one among the countless realistic paintings of Carlo Magno who, for 22 years of his artistic career, has masterfully portrayed images from the detailed depiction of old churches and houses to the intricate and dramatic interplay of lights and shadows of the interiors.
Interior, 2000, Oil on canvas by Carlo Magno.

Photo by Danny Sillada. Copyright 2003. Posted by Hello

Today, Carlo Magno has dramatically metamorphosed from his two-decade pursuit of realism into a more profound search of esthetic expression. The deconstruction of forms and colors in his works, for instance, surprised his collectors and followers alike – how he reinvented his artistic style from realism into a more challenging field of abstractionism. The dramatic change of his creative output is remarkably groundbreaking which can be ranked side by side with the foremost Filipino abstractionists such as Lao Lianben, Raul Isidro and Gus Albor, to name a few.
Untitled, 2004, Mixed Media on canvas by Carlo Magno.

Posted by Hello

When asked why radically spun out his art into a more daring genre, he reluctantly rationalized that he wanted to explore all the esthetic possibilities before the twilight of his artistic journey. He was, of course, alluding to some of his contemporary artists who, in one way or another, confessed that they wanted to create something different in their art before their creative passion ebbs away.

Conversely, the current oeuvre of Carlo Magno is, distinctively, the antithesis to his previous portrayal of realistic images. His forms and colors are literally diffused and melted on the surface of his canvas. The visual illusion of lights and shadows has been altogether defaced - the pictorial climax vanishes, and the flattened surface becomes the epitome of his inexhaustible esthetic interpretations.

Eternal Tree, 2004, Mixed media on canvas by Carlo Magno.

Posted by Hello

In his crimson works, for instance, the thick color of deep red has been inescapably spread out in every corner of the canvas. At the center, an undefined form is minimally embossed, almost invisible yet protruding, creating an illusion of dynamism amid the opaque surface of the painting.

Windblown (Triptych), Acrylic on banvas by Carlo Magno, 2003.

Posted by Hello

Equally arresting, is his five-foot tall triptych where the undulating streaks of black and calligraphic lines, in contrast to the vermilion-toned background, are running across at the upper and lower portions of the picture, a reminiscent of Jackson Pollock’s dynamic paint drippings.

Some of his works are less jarring in form and color, but they have all the elements of unconstrained passion creating a bleak and formless poetry. And one could feel that sense of timelessness reverberating throughout the naked surface of the canvas.

Untitled, 2003, Acrylic on canvas by Carlo Magno.

Posted by Hello

Carlo Magno’s breaking out from the safe zone of his aesthetics is, preemptorily, a welcome precedent to most Filipino artists who have shared the same predicament of being confined from one’s style and from the dictate of the art market. For every artist has a dream and a vision to trudge upon the uncharted bastion of his esthetic creativity. He is hampered, however, to take a single stride lest he loses his artistic identity and eventually, his source for subsistence.

Carlo Magno, on the other hand, has proven himself that there is no risk of reinventing oneself as an artist if it is geared toward a more meaningful and creative pursuit. Surprisingly, the monetary success of his exhibitions as abstractionist painter is enough to prove that an “identity” of an artist to a particular genre is only accidental. What really matters is the persistence to create and the unremitting desire to be creative without confining oneself to the “formulaic versions” of one's style and techniques.

Carlo Magno
Photo by Danny Sillada. Posted by Hello.

Along with his transformation, Carlo Magno embraces and recognizes the unlimited possibilities of post-modern art, where the concept of Aristotelian’s poetics, which is imbibed by Philippine culture, is dead. It belongs to the Greco-Roman art of the past, and what is tangible is here, the art of our time as reflected by our fast-changing society - bold, radical and, at times, irrational.
Copyright © 2004 by Danny Sillada [δακασί].

Thursday, February 10, 2005

TED LUNA: The Symphony of His Art

The Symphony of Ted Luna's Art

"His art becomes a visual music itself, mimicking the poetic movement of objects and human body through the rhythmic flow of his forms and colors..."

When Silence is Golden, Digital Art by Ted Luna.
34 When Silence is Golden  L

As Kandinsky captured music through his abstract juxtaposition of forms and colors, Ted Luna’s aesthetic goes beyond the conventional norms of art making. By crossing over between abstraction and realism, he is creating an optical rhythm and the lyrical tones of figures and colors.

His art becomes a visual music itself, mimicking the poetic movement of objects and human body through the rhythmic flow of forms and colors either on digital prints or through his compelling images on canvas.

(1) Deja vu, (2) Deep Calls Unto Deep, digital Art by Ted Luna
08 Deja Vu  L 17 Deep Calls Unto Deep L

In his “Deja vu”, for instance, he compellingly captured the synchronous and sensual movements of forms and female figures like a flowing river, gentle and placid. At another instance, in his “Deep Calls Unto Deep”, a female nude figure defying the gravity in an oblation-like gesture, stretches her arms toward the sphere of light as if surrendering herself to her creator. The histrionic gesture of female figures is almost playful yet poignant and pensive.

The spatial background of his subject provides a theatrical contrast of space and movement that one could almost feel the symphony of music and the movement of figures resonating within the rectangular frame of his artworks. Equally transfixing is the fluidity of his colors on digital art prints rendered in an almost abstract form yet retains their own indispensable function in defining the essence of the entire aesthetic composition.

Synchronicity, Digital Art by Ted Luna
30 Synchronicity  L

In his depiction of “Synchronicity”, the artist is trying to capture the multi-colored lines converging around the female nude as if emitting energy of the woman, and the latter in a playful gesture, tossing up an undefined sphere with care and gentleness. The picture reflects the essence of a woman, her fragility and vulnerability, her strength and her power. It is like the song of a woman in her bare self, open and unrestrained.

Dream-like and mystical, Ted Luna’s juxtaposition of images are never dull but pullulating with sensual feelings, and that sense of childlike inquisitiveness rouses the viewers to go further into the fantastic world which the artist wishes to convey; a dreamland that anyone wishes to go and be real with oneself in peace and harmony.

Ted Luna, like the gentility of his presence, is the master of visual melody and the poetic movement of figures and colors, an inherent quality from a man of God who attunes himself with the rapture of spirit in his art, and his art becomes a metaphysical quest for the spiritual and the mystical.

Before becoming a multi-media artist, Ted Luna entered the Baptist Theology Seminary in the Philippines, a time where the call to serve God for the young Ted was persistent in his heart. After some time, he took up Fine Arts majoring in painting at the Philippine School of Music and Fine Arts and later, became a University scholar at the University of the Philippines, School of Fine Arts, majoring in Studio Arts.

Rest, Pastel on Paper by Ted Luna
19 Rest  L

It was only in 1985 that he began painting professionally and participating in different art activities in the Philippine art scene. It was also during this time that he garnered awards and accolades for his artistic achievements. He became a three-time grand prizewinner at the Philippine School of Music and Fine Arts and a recipient of the Art Excellence Award in 1989, a prestigious Metrobank Young Painters Annual Competition.

His works have been exhibited in the Philippines, in the neighboring Asian countries, Middle East and in Sheffield, U.K. His most important exhibitions are “Celestial Playgrounds” in 1989 at the Madrigal Center, Philippines, “Brushstrokes Strings, and Satin Shoes” (with Arnel Borja) in April 2000, a two-man show at the famous CCP or Cultural Center of the Philippines. He had exhibited also his “Celestial Playgrounds” in November 2003 at the L. A. Workshop Gallery and the “Rhythm and Hues” in December 2003 at the CCP, Philippines.

Copyright © 2005 Danny Sillada.


(1)Siamese Surfer, (2) Echoes, Digital Art by Ted Luna
Siamese Surfer v2 sm Echoes L

(1) Dream Catchers, (2) The Jolly Good Fellas, Digital Art by Ted Luna
Dream Catchers 36 The Jolly Good Fellas  L

(1) The Juggler, (2) Disclosure, Digital Art by Ted Luna
27 The Juggler  L 24 Disclosure L

Wednesday, February 09, 2005

BAL FORNALIZA: His Poetry of Forms & Colors

"...Ms. Marcy had found a loyal artist in the person of Fornaliza when, at times, she had no cash to pay the artwork, instead, the artist would trade kilos of rice for his painting – a reminiscent of Fernado Amorsolo’s younger years as a struggling painter."
Hamog, Oil on canvas by Bal Fornaliza, 2003

Photo by Danny Sillada (c) 2005. Posted by Hello


If one were to catch a glimpse at the rustic beauty of the province, the canvas of Bal Fornaliza is a window that invites the viewer to meditate upon the mesmerizing sceneries of the countryside environment.

Fornaliza’s pictorial rendition of bucolic life evokes a sentimental journey into an idyllic world where he came from. Through the virulent texture and translucent color of his canvas, he created a visual poetry that one could almost feel the gentle touch of summer wind, or hear the rushing waves of the sea…

One of his visually compelling images is the Fishermen. Here, the viewer can immediately feel the pictorial tensions as reflected on the jarring colors and the histrionic portrayal of fishermen pulling the net. The craggy texture of oil color is converging at the center of the canvas – resonating the unified force of fishermen who are trying to untangle their catch for the day. What makes the imagery more dramatic is the undulating movement of the waves created by the heavily laden boat.

Fishermen, Oil on canvas by Bal Fornaliza, 2003

Photo by Danny Sillada (c) 2005. Posted by Hello

Equally impressive is his portrayal of Hamog, in contrast to his Fishermen, rendered in a tranquil and bluish monochromatic color. The intervening presence of white in-between the bluish tones create a lyrical space – silhouetting the leaves of the trees as though they were moving gently with the morning breeze.

In a similar manner, the presence of deep cadmium yellow in the middle of the picture, though signifying the morning light, serves as the gray area, an optical illusion in pictorial composition, to break the monotony of color pullulating through the surface of the artwork. Nonetheless, the picture is a visual haiku celebrating the timelessness and beauty of nature in a pristine world untarnished by environmental corruption.

Born on the 15th of May 1960 at Santiago, Bato, Camarines Sur, Fornaliza’s childhood is filled with poignant memories of his paradise-like town. As a boy, he grew up within the aesthetic atmosphere of his home; his father, Sofio Fornaliza, is poet, painter, musician and composer of Bicolano folk songs. As early as four years old - his mother - his first muse and inspiration as a fledgling artist, had collected his sketches of animals and paintings of rice fields and mountains done in watercolor.

The young Fornaliza’s artistic skill begun to flourish during his primary education when his teachers took notice and, eventually, exploited his precocious gift in the classroom. His talent had gradually developed when he began to compete in art competitions during his secondary and formal schooling, as he would consistently bagged citations and awards for his artistic excellence.

As a young lad, Fornaliza had already experienced the harsh realities of life in the province when he had to earn a living through fishing, farming and other manual works in his town. Later, the artist would frequently portray his favorite subjects, with such passion and authority, about the life of fishermen and the compelling images of rice field harvests.

In 1990, he came to Manila for a better opportunity when one of the members of his church Iglesia Ni Cristo, recommended him to the Fortune Tobacco Corporation in Manila as a resident artist in advertising division. During this time, he began to participate in several group exhibitions and later, had the opportunity to launch his first one-man show at Café Malate.

His association with different artists in Manila gave him a wider perspective in his style and technique when he met a senior artist, the late Virgilio Daclan, who influenced him to use the palette knife, instead of paintbrush, on his oil paintings. His new technique is conducive to his stylistic and painterly portrayal of rustic sceneries with bold and vibrant colors.

Then came the year 2000, the turning point of Fornaliza’s artistic career when he met an art patron, Ms. Marcy Supsup, an engineer by profession who saw the beauty of his works. She bought three paintings from him through the referral of a portraitist artist named Lorence. The chemistry between the art patron and the artist gradually developed when the latter found a lover of his works.

In turn, Ms. Marcy had found a loyal artist in the person of Fornaliza when, at times, she had no cash to pay the artwork, instead, the artist would trade kilos of rice for his painting – a reminiscent of Fernado Amorsolo’s younger years as a struggling painter.

Eventually, the engineer saw the potential of Fornaliza’s work in the art market that, instead of accepting a lucrative project in Singapore, she started to hang her collection of paintings at her modest boutique in Makati.

The lowly boutique gradually transformed into an art gallery and later, branched out at Ever Gotesco in Ortigas, which is known as Shamcey Gallery. Here, Fornaliza’s works continued to capture the viewers and the passersby and even mesmerized the heart of a certain balikbayan collector who promised the artist, through the Shamcey Gallery, a one-man show in the US.

Conversely, Fornaliza’s chosen genre, which is Impressionism, corresponds with his stylistic use of palette knife with thick and almost impasto composition on his canvas. His tropical colors are orchestrated in a typical manner peculiar to Philippine environment and its climatic condition.

Red, Oil on Canvas by Bal Fornaliza, 2003

Photo by Danny Sillada (c) 2005. Posted by Hello


Though Impressionism is a movement from the West, its humble beginning is traceable to Asian arts and culture particularly the Japanese’ and the Chinese’. Like for instance, Monet’s brushwork characterizes an almost calligraphic stroke on his small and large scales paintings. It was Vincent Van Gogh, however, who recognized the direct influenced of the Japanese calligraphy in his art as indicative of his short and bold strokes on the canvas.

Fornaliza, in his own right, assimilated these influences into his own oeuvre as if it were inherent in his environment in the countryside. As one of the qualities of Impressionism is the portrayal of the present, the artist contrived his own forms and colors with dynamism and unique pictorial composition.

Although some of his works are derivative from the masters like the figurative and painterly pictures of Amorsolo; Fornaliza, however, is already on his way of establishing his own esthetic identity as one of the most promising impressionists in the country.

Tuesday, January 11, 2005

DANDY ROY: From Martial to Visual Arts

dandy roy: from martial to visual arts
Dandy R. Morales a.k.a. Dandy Roy

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When his 1993 fight at a prestigious martial arts tournament in Phuket, Thailand did not materialize, this young master had to fight for subsistence in Manila. Stranded and disillusioned, like a typical provinciano who had gone astray at the heart of the metropolis, and with nothing in his pocket but a handful of dreams, he had yet to face the greatest fight of his life - a fight for survival - to assuage the pains of his hungering soul and stomach.

Instead of using his martial arts expertise in hunting for a job, he reluctantly dropped the “martial” but embraced the “arts” and from there, life was never the same for this award-winning eskrima master turned painter from Davao.

Dandy Roy’s still life paintings are teeming with geometric forms and colors. His esoteric subjects are reflective of his origin where ethnic foods are given with new meanings as they ingeniously appear on his canvas. The queer juxtapositions of tribal delicacies such as the lut (a bamboo tube where the native fish is cooked), the grilled uâbang (mountain shrimp), the steamed casili (eel), and other mouth-watering ethnic recipes are lusciously portrayed with dynamism on his canvas. The ensuing images are sensuously delectable and exotic.

Still Life, Acrylic on Canvas By Dany Roy, 2003.

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His journey begun from a remote town at the Eastern part of Davao province, a coastal town called Baganga, which is sandwiched between the lush mountains and the Pacific Ocean. In the 70’s and 80’s, this paradise-like place used to be a progressive town among other towns in the first district of Davao Oriental, where the logging concessionaires still stationed, reaping mercilessly the virginal forests of the entire district.

As a young lad, he benefited from the economic surge of his town by peddling his coco-wine (locally known as tubâ) to the logging workers. As a mananggeté or a winemaker, which he would proudly assert today, he supported his siblings and his own studies at school. His assiduous dedication to his humble profession at a very tender age was exceptional, sacrificing his personal needs and happiness for the betterment of his family.

He would rise early at dawn with cawit (bamboo container) fastened on his left shoulder and a sang’got (a sharp boomerang-shape blade) tucked on his waist, then climb as many coconut trees as he could to percolate the extracted juices from the cawit that was attached overnight to the sliced shoots of the coconut tree. The freshly harvested juices would then be processed and mixed with tungog, a red powder that served as coloring and taste enhancer, so that by seven o’clock in the morning, he was already off to school after delivering his gallons of product to the different tiangge (tubâ vendor).

His perseverance was finally rewarded when he graduated from high school out of his own dexterity and independence. He then dreamed of going to college in Davao City that was 800 kilometers away from his town. However, due to the financial constraint, his dream died before it could flourish. Disappointed and tired of his routine as a winemaker, he went into the mountains, not to become a rebel, but to live a hermitage life.

In 1981, after two years of living an ascetic life, he began to question the purpose and meaning of his existence. And like Albert Camus’ awakening, Dandy Roy suddenly found in him an ‘invincible summer’ when he decided to come out from his lonely delitescence and go back to his family and friends as a new and mature person. This time, determined to pursue his dream of studying in college, he began to unravel the beginning of his life’s journey in a distant place away from his land.

In the same year, he took up Electrical Engineering at the University of Mindanao in Davao City. However, his stint at the university was cut short when, in 1982, he decided to sail to the island of Cebu to shift in another course on BS Marine Transportation at the University of Cebu, then Cebu Central Colleges. Almost simultaneously, he also began his rigorous training in martial arts under the legendary grandmaster, Ciriaco Cañete, a world-renowned grandmaster in arnis and one of the founding members of Doce Pares.

Aside from his growing skills in kali and arnis, he went on further to learn in other fields of martial arts such as Karate, Judo and Jujitsu. In the following year, as a brilliant student with athletic physique, he was hired by his grandmaster as assistant instructor in the same university, which later, he would become a sports celebrity in the campus.

Then 1988 came, as the luckiest and the busiest year for this fully grown man who almost buried his dreams into the wilderness of his town. He bagged two championships in martial arts competitions being the national champion in Karate, open competition, under the Central Visayas Karate Association, and national champion in arnis, welterweight division, sponsored by the World Eskrima Kali Arnis Federation, which was organized by some Hollywood personalities (stuntmen) such as Dan Inosanto, Fred Degre Berg, Richard Bustillo, to name a few, headed by Grandmaster Ciriaco Cañete.

The Multi-Awarded Kali Master, Dandy Roy

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His tours de force performance in martial arts earned him four different prestigious titles as Black Belt (4th Dan) in Arnis, Brown Belt (4th Kyu) in Judo, Black Belt (1st Dan) in Jujitsu, and Black Belt (1st Dan) in Karate. He was then one of the best and most sought-after instructors at that time, needless to mention his being the protégée of the grandmaster.

Meanwhile, in the same year, Lito Osmeña, then governor of Cebu, took notice of his growing popularity in martial arts, hired him through his grandmaster to train the Barangay Tanod members on tactical defense as part of the Department of Affairs’ program in suppressing criminalities in the city. Almost simultaneously, the Military Air Force hired him for his tactical combat expertise to train the Air Force officers and Air Force Police on Anti-Terrorist and Tactical Combat Defense program at Mactan Air Force, Cebu.

Despite the accolades and success, however, after a long strenuous routine as a martial arts instructor, his passion slowly wizened when he finally finished his studies in BS Marine Transportation in 1989. After making a difficult decision, he reluctantly left his post and his grandmaster with a heavy heart.

By 1990, he then went on in another journey, farther and away from his land, on an inter-island tramping vessel sailing through Philippine islands and, at times, in the neighboring Asian countries such as Malaysia and Singapore.

In the first quarter of 1993, after sailing for two years in the vast horizon of the sea, he anchored back home in his hometown in Baganga, Davao Oriental to see and embrace the people whom he dearly loved, the same people who gave him a reason to dream , which he eventually achieved through persistence and hard work. It was also in this town that he finally found the harbor that he had been longing in his heart, a lovely woman named Gemma, who began to fill the emptiness of his life.

Shortly after his brief vacation in his town, together with his newfound love and inspiration, he sailed again and this time, bound for Manila to prepare for an impending international martial arts tournament in Bangkok. In Manila, he was supposed to meet a friend; his would be teammate, Christopher Petrelle, who would be sponsoring his trip to Thailand. But Petrelle did not arrive to Manila because of a freak accident - a long jump as paratrooper in Australia that caused several bone fractures on his lower body.

With no adequate funds, he and Gemma stayed at their relatives, a known and established artist William Yu, at San Jose Village in Alabang. There, he also met his younger brother, Adrian Morales, an emerging artist who was an apprentice to William Yu. Consequently, as he began to associate with different artists in Manila, Dandy Roy slowly awakened his artistic passion and saw its potential as a source for subsistence.

After finding himself in the company of veteran artists like William Yu, Loreto Racuya and the late Isabelo Quiles, to name a few, being the odd man out, Dandy Roy finally joined them. As a fledgling artist then, he was agog to learn and relearn the rudiments of arts from the masters. One of them was Loreto Racuya who became his mentor in painting, and at the same time, his diligent student in martial arts particularly in arnis.

By 1997, Dandy Roy was lucky enough to meet the father of both struggling and established artists in the person of Atty. Mario Alcantara, the founder of Heritage Gallery, who saw the great potential in his art. At first, he was asked by his newfound patron to deliver one painting a week who, not only inspired him to paint, but also gave him tips on works that are saleable in the market. Later, Atty. Alcantara began to require him to submit more paintings, as the demand of his works grew bigger in the market.

He woke up one day in disbelief, as if in a euphoric dream, when he realized that his paintings had already been circulating in the market - being sought by art collectors and dealers alike. And who would believe either that this chameleon from terra incognita could metamorphose himself from a lowly mananggeté (coco-wine maker) to a martial arts expert and from a humble seaman to a promising visual artist.

Today Dandy Roy could only sigh with relief if he remembers his sinuous journey. He would rationalize that life is like an intricate process of making a coco-wine, or like martial arts where you have to counter-attack using your opponent’s own force, or like an ocean to be sailed and navigated, or like an empty canvas to be filled with forms and colors. As an optimist with undaunted dreams and vision, he still struggles to live day by day by conjuring up his art one at a time.

“My philosophy in life”, he said audaciously,”…is that, you have to make it happen, otherwise, nothing will happen to you!”

The newly-wed Dandy Roy with wife Gemma.

Photo by Danny Sillada. Posted by Hello

Monday, January 10, 2005

MANNY DULDULAO: Philippine Art Historian

THE NUDE IN PHILIPPINE ART
(A Conversation with Manny Duldulao)
by Danny Sillada


Adam & Eve, 2004. Oil on Canvas by Danny Sillada.
Collection by Mr. Eric Cruz. Posted by Hello

Manny Duldulao, art writer and historian, has written extensively on Philippine art and culture. As a self-made man, he is the only non-academe art historian who has written various books in the fields of Art and Culture and whose contribution is beyond compare among his contemporaries and the new generations of art writers.

Manny Duldulao

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Manny Duldulao is a legendary name within the circle of collectors - a Godfather to the Filipino struggling and established artists. Through his wisdom and dexterity, he immerses himself within the communities of Filipino artists; he helps and enlightens them to come out their best creative outputs that are reflective of Philippine culture and environment.

Tower of Eden, 2004. Oil on Canvas by Danny Sillada.


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A TOYM awardees (Ten Outstanding Young Men) in 1973, Manny Duldulao’s passion and energy never seemed to wane out after several decades of chronicling the Philippine art movements and activities. In his latest book, which will be launched in 2007 titled “The Nude in Philippine Art”; he introduces a fresh concept and development of Nude Art in the Philippines in the context of universal art.

In essence, he explores the attitude and concept of nude art in relation to the artists and their nude models, and the growing awareness of Filipinos especially the collectors toward Nude Art as a form of aesthetic expression.

Nude I, 2004. Pastel on Paper by Allan Flores.

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THE DEVELOPMENT OF NUDE ART IN THE PHILIPPINES

The following conversation with the author in January 10, 2005 was a brief glimpse of “The Lives and Loves of Artists and Models” prior to its final publication and launching in 2007.

D.C. SILLADA: What is the main concept of your book on Nude Art in the Philippines?

MANNY DULDULAO:
The main objective of the book, “The Lives and Loves of Artists and Models”, is to place Philippine art in the context of universal aesthetics. That is the reason why I developed the book by showing masterpieces of nude paintings around the world from Spain to Parish to New York and, then, juxtapose them in the context of Philippine art movement.

All of the paintings that I am featuring in the book are full-blown artworks in the respective style of the Filipino artists. I don’t feature sketches or drawings because we cannot elevate Philippine art into a universal level if we are going to show minor pieces.

Nude painting in the Philippines is relatively a recent activity. It only came out in the 1980s and before that, from the 1930s to 1950s, there were not much movement especially in the academe like the University of the Philippines because they could hardly get a Filipina model to pose for the Fine Arts students.

D.C. SILLADA: What is the attitude and concept of Nude Art amid our conservative culture from 1930s through 1970s and 1980s onwards?


Desnuda, 2004. Oil on canvas by Danny Sillada.Collection by Mr. Paulito Garcia, Ricco-Renzo Gallery.

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MANNY DULDULAO:
Nude paintings in 1950s and 1960s, I would say, were practically academic. They were for studies of human anatomy along the lines of academic requirement, and not for the purposes of gallery exhibitions.

It was only in the 1970s with the organization of the Casa de Oro Group, which is currently known as the Saturday Group, under Alfredo Roces, Hernando Ocampo and Cesar Legaspi, when the nude as an art form began to emerge. Other artists took it from there like the group of Ernie Tagle; they took serious undertaking of giving the nude art form its due in the Philippine art movement.

I would, therefore, say that the flowering of the nude as an art form by itself began in the 1970s and blossomed around 1978 to 1979 and, then, started to have a heavy solid footing in the Philippine art market around the early 1980s.

Now, of course, anything goes... In fact, you can find nude session almost everyday and the artists are no longer looking at it as a form of exercise, but simply as an exploration of art form.

Marina, The Model. Photo by Danny Sillada, 2004.

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D.C. SILLADA: The Filipina nude models: how they respond in exposing their naked bodies in front of the artists, considering our conservative culture toward nudity?

MANNY DULDULAO:
In the 1950s, you could count on your fingers the girls who were posing in the nude, and they were mostly posing in academic classes like UP. However, it was only during 1970s that modelling became a profession, and one of the legendary pioneers is Nellie Sta. Maria.

When the girls realized that it was a serious undertaking and they could earn some good money in the process, many of them started modelling professionally for a moderate fee. Consequently, they were getting regular assignments especially with the group of Tagle, and they were common girls, not in the entertainment profession.

The girls were mostly students who put their trust on the integrity of the artists. One of them was a niece of the late art critic Lorna Revilla Montilla. She was fondly called Inday. One time, the model that they were waiting did not arrive so Lorna told her niece “O, Inday ikaw na lang ang mag-pose...”

It was the beginning of her modelling career that eventually prospered. Now, some girls took it as a profession: they are no longer embarrassed disrobing in front of the artists.

Today, Filipina movie stars pick up the modelling stints; so you can count on them as regular sitters. Girls like Tracey Torres, Julia Lopez, Rosanna Roces, Andrea del Rosario, Katya Santos, Honey Miller, the controversial Keana Reeves and Rose Valencia, they all posed in the nude sessions.

Nude II,2004. Watercolor on Paper by Gene de Loyola.

Photo by Danny Sillada, 2004. Posted by
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D.C. SILLADA: What is your main thrust in the book in relation to the artists and their nude models?

MANNY DULDULAO:
After reading several literatures on nudes, I found out that art authors and historians concentrated on the human body as a source of art form. What I did with my book, I researched on the lives of nude models.

Like, for instance, the famous painting of Sandro Botticelli titled “The Rising of Venus”; I was able to gather enough information as to who the model is and the family where she belongs to. Likewise, the model of Édouard Manet and his controversial painting “The Luncheon on the Grass”: who is she and what is her name?

These are essentially the main thrusts of my book: the artists, the models and their symbiotic relationships that create a compelling history and developments of nude art from ancient time to postmodern period.



Nude IV, 2004. Pastel on Paper.


Nude II, 2004. Pastel on Paper by Nards Zepeda.

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"Manny Duldulao in his early 60's. His passion and energy never seemed to wane out after several decades of chronicling the Philippine art movements and activities."

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