Iya C

THE EYES HAVE IT
Artist Iya Consorio mounts a 10-painting exhibit that stares at you with a hundred different eyes.

By Nickky Faustine P. de Guzman

If the eyes were the windows to the soul, contemporary artist Iya Consorio would be soulful—because her paintings often feature repetitive images of the eyes. “I love putting eyes into my paintings because if I were the subject, I’d want to have more than one pair of eyes because if you had many eyes, you wouldn’t know where, whom, or what to look for. And I like that. You see a lot of images that make you dizzy and confused and it will get you thinking, ‘Where should I look? Is the image I am looking at the image I should be looking for?’”

Iya likes dark, sad, punk, and emotional subjects. And so, in her latest contemporary exhibit called “Weird Machines,” surrealism, eyes, and monochrome palette ruled. Her paintings were inspired by the dark versions of fairytales Snow White, Sleeping Beauty, and Cinderella, stories she used to read as a kid. “My latest exhibit is about misery, and despair, and darkness.

“Fate’s a bitter lady/ Beat us to a pulp/ I am sure she means well/ She’s just a little dull/ To have stayed alive intertwined between punch and dream.” So goes the band Small Black’s “Weird Machines,” from which the title of the exhibition was drawn. The song, according to Iya, represented her works in the show.
“I love being sad. It comforts me. And my art is my way of releasing my emotions, even when I am swimming in misery. I am more inspired when I am sad. I don’t like perky, upbeat paintings. I find them corny,” she says, smiling.

But Iya isn’t depressed. Perhaps, she prefers her world dark and soulful. “I want to hold on to the people and things that matter to me. When you already have your ideal life—pursuing a career that you love and having a happy family—fear starts to creep in. You start to ask, when will the darkness start? You start to be anxious and you become paranoid,” she says. It isn’t surprising that among her 10-painting exhibit, her favorite is The Agoraphobia, a painting of an anxious woman with 15 eyes. What is she looking for and looking at? What makes her uneasy?

If inspiration and influences are what Iya is looking for, she says she gets them from pop and surrealist artists like Keichi Tanaami, Louie Cordero, and Jojo Legaspi. But her favorite is her husband artist Andres Barrioquinto, who’s also into surrealism and Japanese prints. “I find it overwhelming that I get to marry my idol. I have the tendency to be submissive because he is my mentor. Yes, he influences me but he allows me to also grow as an artist, independent of him,” she says.

With all the eyes in her paintings, what exactly is Iya looking for? She doesn’t know. To find out, we can just look straight into her eyes. The eyes, after all, always have it.

Lydia V

EVE-OLUTION: 

The Women of Lydia Velasco

Text by Hannah Jo Uy

On Dec. 22, 2017, Lydia Velasco celebrated two births: her own, and the many women she brought to life through her skilful manipulation of line and color. Her exhibit “25 years of Velasco: Eve-olution” is more than a retrospective and a 75th birthday celebration—it is a commemoration of the creative life. Beyond paying homage to the instant the artist’s flesh and consciousness came into being, the collection revels in the stories of nameless faces on the canvas. Aptly titled, the collection does indeed follow the evolution of Eve and generations of her daughters, molded by toil and triumph.

“I paint what I know best—a woman of substance,” said Velasco. To this day, the women of Velasco continue to enthrall. Timeless, their allure is not solely drawn from their appearance, but also from the mystery behind their gaze. They are unabashed and at home with their natural surroundings. With expressive eyes, captivating facial features, and limbs that emphasize both the strength and beauty of the female form, Velasco’s brand of femininity is primal, raw, and almost ethereal. The underlying depth in the casual scenes Velasco brings to life reveals her unassuming commentary on women born from a deep understanding of her own experiences.

This comes as no surprise as throughout her own long and illustrious career, Velasco was no stranger to difficulty, which added fuel to her fire. “There are so many challenges,” she recalled. “As a woman. As an artist. As a woman artist. It’s my love of art that pushed me to pursue painting. Breaking through the art world is in itself a difficult task.”

Early on in her career, Velasco was one of the first female art directors. She worked in a number of notable agencies. “Imagine a 4’11 woman in the midst of a male-dominated company,” she said. “I needed to assert myself to be heard by these people. I needed to prove my worth to these talented people. Advertising was a venue in which I learned competitiveness and discipline.” This greatly led to her decision to focus on women as a subject matter in her creative endeavors. “I am very lucky to have learned from our greats, Cesar Legaspi , Nanding Ocampo, and the like. It is through these experiences that I molded my thoughts.”

These thoughts imbibed the women on her canvas with further depth represented in their unique aesthetic features that continuously evolved in an organic manner under Velasco’s skillful technique. This is evident in the body of work in her upcoming retrospective: “If there’s a common denominator, they have always been strong and vulnerable at the same time,” she said.

In view of her many accomplishments, Velasco’s humility and gratitude in being able to simply indulge her creativity is admirable. “Many people can paint but only a few were given a chance to showcase their work,” she said. “Thousands of hours in painting. Maybe hundreds of artworks. Only a few would be recognized. It is my love for my family, giving honor to my parents, and with hope, leaving a good legacy to my children that made me persist in spite of the difficultly.”

When asked about her creative philosophy, Velasco shared the approach she had always cultivated throughout her artistic life: “Pray for guidance. Do what you know best. Research. Paint. Pray to give thanks.”

To this day, Velasco still maintains a thirst for knowledge, driving her organic development both aesthetically, in terms of technique, and conceptually, in terms of subject matter. “I still learn every day,” she said, “I look at other people’s work and I make a mental note of those things I like about the painting.”

She is also not above paying homage to the many influences that fed into her own approach: “I may have my own style but it’s always a mixture of my own thoughts and other people’s work,” she said. “So when you see my artwork. You cannot say that it’s solely a Velasco. It’s a Velasco and those people who influenced her.”

Aside from sharing her gratitude, Velasco is not shackling herself to her past as she is already looking towards future projects and subject matters that she would like to tackle. Though her artworks have always exemplified the strength and sensuality of women amid a colorful background, she is inspired to further challenge herself to create intelligent works of art that could portray a darker side to the women she has introduced, inviting people to look beyond the choice of color and instead penetrate the gaze of the woman to ask: ‘What is she thinking?’

“25 years of Velasco: Eve-olution” will run until Jan. 1, 2018 at Art Center Megamall

Published December 25, 2017

Mervy P

THE SELF AND SEMIOTICS
Mervy Pueblo defines her Art

by Jacky Lynne Oiga

When she was starting out as a sculptor, artist Mervy Pueblo was obsessed with the pure form. She shut herself off from the world and toiled over shapes, symmetry, balance, and beauty to create something out of nothing. To play God. Until life happened, decentralizing everything she knew about art, herself, and her purpose, knocking her off her proverbial pedestal. She made sense of everything she repelled as a tortured soul. That everything that she—we—knows, understands, and imagines came from her relationship with the world. And just like that, a semionaut was born.

THROUGH THE EYES OF A SEMIONAUT

French art critic and curator Nicholas Bourriaud coined the word semionaut or an artist who visually or politically absorbs things in the world and uses signs and symbols to create new things or narratives. “That’s how I see myself as an artist now,” Mervy says. “I’m no longer focused on just discussing forms, principles, or tastes but rather meanings in life. I want to open discussions through art, not stir discussions for it.”

Coming out and calling oneself a seminout was a very big, and brave, statement. She knew very well that she was in no place to put a tag on her name. But she was done glorifying labels. She has, after all, freed herself from preconceived notions of art and artists. Mervy’s deeper foray to art education and life in general led her to this new exploration. Under the flagship of Fulbright, she received her MFA in Visual Studies major in Public Art and Sculpture at the Minneapolis College of Art and Design under the mentorship of sculptor Kinji Akagawa.

“I didn’t really call myself a semionaut until Mr. Akagawa picked my brain and told me that my illumination of art is ‘really experiencing the real’ and I have to look into it because I can easily ‘translate [it] into my artworks,’’’ she says. “Then he started me on reading G.W.F Hegel, Nicholas Bourriaud, Claire Bishop, Immanuel Kant, Martin Heidegger, and Mikhail Bakhtin. That’s how I began to understand myself and my practice more as a semionaut. He didn’t put words into my mouth and instead tried to make me think about things in my own life and my practice. He was not only a graduate adviser but a philosophical father.”

COMIC RELIEF

When she came back to Manila in 2013, Mervy’s studio practice went from stonemasonry and marble sculptures to human relationships and the everyday life through installations and readymades (art created from undisguised but often modified ordinarily manufactured products that are normally not considered art) using the platform of the artist joke.

In her “Expectation Kits” project, which was initially exhibited in Minneapolis and can now be viewed online (http://mpueblo.wix.com/expectationkits), she collected samples from commercially available products that speak of how capitalism is shaping people’s identities. She made Expectation Kits for Asian Men and Women. Inside the Asian Woman Kit: 36-24-26 measure-you-tape, inflatable breast enhancer, black eyeliner to mimic large Western eyes, adhesive eye-folder set, lip shimmer, nose clip trainer, perfect white skin chart, an engagement ring box, and a pacifier. The Asian Man Kit: a comb, eye glasses, expandable wallet, keychain, wedding band set, and a 15-centimeter ruler. She also made Expectation Kits for Caucasian-American and African-American men and women.

This was Mervy’s attempt to sift out the dark side of capitalism, a critique of the sublime corruption of human values that are clandestinely constrained by the commercialism.

Meanwhile, for the Cultural Center of the Philippines “Thirteen Artist Awards: Triennal Exhibition,” she showed World Class, an art installation clasped on the idea that while the Philippines, its government rather, claims and prides over the Philippine economic boom and world class sensibilities, its system is still rotten, upon close inspection, to the core.

“What I did was install a pristine white façade with clean cut letters WORLD CLASS, behind it are five flat screens that play video clips of the everyday rottenness of Filipinos, from simply not minding other people’s space to cars speeding along pedestrian lanes and almost running over pedestrians just to get ahead,” she says.

SOCIAL RELEVANCE

These were just some of her examinations of the Filipino everyday life, hers included. She likes to confront socially difficult issues that people tend to brush aside like materialism and commercialism and how they are shaping the society or how money is shaping or warping social values. “What I do is magnify these issues through art and invite people to talk about them. And I’m not doing this to judge people. I’m simply triangulating the issues through signs and symbols. I employ the artist joke to put across the difficult subjects, to make them more palatable or digestible,” she says.

This inexorable need to tackle socially relevant issues and spark change stems from her philosophy that people have to be involved and not just respond to things happening around them. Because with everything that’s happening in the world today—climate change, discrimination, war—it’s simply foolish and cruel to not care anymore.

“A few years back, all I could care about was my art. When I look at my earlier works, I want to burn them,” she laughs. “They’re lifeless, I can’t feel my soul in them, I can’t even feel the presence of time in them. My perspective about myself and my art changed when I learned how to be receptive to people and my surroundings, when I finally let go. This is how I am and it just seeps through my art making. I’m not doing this because I read it from Hegel or Kant. This is what’s real to me and now I believe I can have purpose through art.”

But art, when presented as comical albeit purposeful, could easily come off as eccentric or, worse, lazy. Not everybody, especially in the art circles, could ride on Mervy’s jokes and contexts after all. “I do sculptures, I paint, I do graphic design but installation is where I’m more geared to. It gets me really thinking how my audience, the general public can easily understand my work without being too didactic. But then again, some people with preconceived notions of art immediately shut themselves out. And that’s fine, it’s up to them. What’s important is I put the message across. If it would get them talking in any way, then it has served its purpose.”

Right now, Mervy is working on her next, probably biggest piece, Project Embrace. It’s a study for landslide prone areas where she seeks to create an ecological art project that will put sculptural braces around mountains. The plan is to make mountain braces made out of solar panels so it will not only protect communities from landslide but light their homes and streets, too. It’s not just an art object that you can see from afar, it has an ecological and disaster reduction purpose as well. A project only a semionaut could dream up.

February 13, 2016 

Rico L

CAPTURING FORMLESSNESS: Rico Lascano’s Visual Sanctuary

By Hannah Jo Uy

“As early as I could remember, I have found it more satisfying to express :inner feelings through visual art rather than through words,” says Rico Lascano. “Abstract painting for me is more useful in expressing one’s emotion.”

The abstraction that Lascano offers is particularly poignant, as the artist not only records his visual meditations through organic, spontaneous, and minimalist compositions; he also delves deeper into a serious, yet subtle commentary on life and existence as the works take on an esoteric and mysterious quality, as though each canvas holds the secrets of the universe.

His body of work perfectly captures the very essence of Zen Buddhism and the Daoist principle, which is formlessness. This formlessness is a challenge to the material world and our attachment toward objects and ideas, particularly with regard to how we have hinged our identities on it. Lascano tackles the idea of formlessness through his own brand of abstraction, which serves as a still and peaceful sanctuary.

Significantly inspired by nature, Lascano’s work is not only aesthetically pleasing it is also deeply moving in such a way that it encourages silence and contemplation among viewers. His works are the visual representation of space, and because it is so, each painting takes on the meaning assigned by each viewer from their own personal reflections. This dynamic quality is grounded on the artist’s love for water, which finds its power in fluidity and adaptability.

“For me the stillness of water initiates deep reflection and meditation,” he said. “Thus, these concepts/philosophies have manifested itself in my bodies of work like Pondering, Liquid Prose, Stream of Consciousness, and the Water Dance series.”

Indeed, the power of each work is most palpable in its ability to transform itself according to each viewer, invoking upon them this visual haven that serves as a welcome pause from the bombardment of superficial images that otherwise assault our senses.

Thus, it might seem as a surprise for those that are not aware of his distinguished background, that this proponent of stillness has established a notable career in the fast paced world of advertising. An alumni of University of the Philippines with a degree in Visual Cmmunications, he was recognized for his work in advertising through multiple awards, all as he took on the responsibilities as the president of the Art Director’s Club of Manila and co-founded an all-Filipino ad agency.

Throughout this time, he was cultivating his artistic direction, noting the influence of a number of prominent abstractionists throughout his journey. In college, he professed a deep love for the works of Joya, who was one of his teachers. “When I was working as an art director I was blessed that Edwin Wilwayco persuaded and mentored me toward pursuing abstract art,” he also recalls. “Later on, I leaned heavily on the minimalist side, which explains why most of my early works are influenced by Gus Albor and Lao Lianben.”

In addition, he also shares his admiration for Gao Xingjian and Zao Wou-Ki, for both their creative portfolio and their artistic approach: “As Gao Xingjian once said ‘Painting begins when words fail.’ That is the essence of my creative philosophy.”

Lascano continues to cultivate a strong appreciation for this Chinese-born playwright and author of Soul Mountain, which earned him a Nobel Prize for literature. The author’s works were thought to be critical of China and was thus banned, eventually forcing him to flee the country. “In France he came to realize that all the words used by humanity are not enough to express human emotions, which is why he evolved into a painter.”

The artist’s inclination toward capturing the unseen has further encouraged his study in Oriental philosophy. He is not only inspired by Chinese literature, he is also fascinated by the philosophies borne within the region. “My art has a strong Japanese influence, too,” he said. “My body of works [The Pondering Series] was inspired by the haiku poems of my wife Chachu, and the Satori Series, [following the tradition of] Zen Buddhism pertains to a moment of enlightenment.”

He has now earned the praise of discerning people within the industry. With more than 11 solo exhibitions in the Philippines and abroad, he has an international audience, all of whom have lauded his work for its timeless beauty and its ability to touch on universal and fundamental aspects of our humanity. His works have found its way to the homes of many people across the globe, in privileged residences such as that of Claude-Michel Schonberg of Miss Saigon fame, as well as distinguished institutions like the Central Bank of the Philippines.

Passion continues to drive Lascano, who said that, “As long as you keep that flame burning and keep on nourishing it you will continue to create fresh and stimulating art.”

This is also evident in his most recent endeavor, where he showcased his work alongside distinguished abstractionist Benjie Cabangis in the exhibit “Substance-Essence,” which opened last March 18 at Art Anton.

Exhibiting 18 works, Lascano continues to unveil paintings that are visual manifestations of his artistic philosophy which he aptly describes as an “inner journey that elevates existence and consciousness.” As he dives into work, he continues to draw from visual experiences and internal reflections, which, as he says, has always been the wellspring of his art.

“Making art is a very spiritual endeavor,” Lascano affirms. “Your whole being, your mind, body and spirit are catalysts in the process of creating art.”

Published April 10, 2017

Bullet D

Experience is Bullet Dematera’s greatest Teacher

By Hannah Jo Uy

Most people ask “why,” yet a few souls, even in the most damning of circumstances, stand proud and ask “why not?” Bullet Dematera is one such person. What Dematera lacks in formal education, he more than makes up for with his resilience, tenacity, and willingness to learn.

“Even when I was in elementary, I was already drawing,” Dematera said recalling his early illustrations of rustic provincial life in Bulacan. He was influenced by his older brother, who also drew. “I started thinking, I could do that, too,” he says.

Though he showed promise at a young age, financial setbacks forced him to stop school and work to help provide for his family. Even in the absence of a formal education, however, the desire flickered like an ember against the harsh winds. Meeting with distinguished realist painters reignited this passion and nourished it into a flame.

At 20, Dematera got the opportunity to work as a studio assistant for artist Rolando “Olan” Ventura. It was a pivotal moment for Dematera who, without knowing it, had embarked on a painting apprenticeship. “I learned how to use graphite and the right combination of pencils (from Kuya Olan),” he said. “I stayed with him for about three years. After three years, I was sent to his brother, Ronaldo, where I was an apprentice for almost 10 years. I learned how to use acrylic, oil, and the right combination of color.”

Dematera soaked up the information Ventura’s shared and vigorously applied himself to his craft. “I have the highest respect and deepest gratitude for the two brothers, because it is through them I was able to refine my knowledge and improve my skills in painting, even without a formal education. It was from Kuya Onat that I learned how to deal with people, present myself, and talk in a professional manner. He would always remind me that he didn’t consider me as someone less. He would be teaching me, little by little, and I wouldn’t even know it. One of the things he said, which I will never forget, is ‘If you make a mistake, use it at as a lesson so you can learn faster and be better.’ He would remind me that for everything that happened, God has a purpose. Even if we don’t know what the reason is, a day will come where everything will work out.”

Dematera worked with graphite, oil, and acrylic, developing his own brand of hyperrealism by studying books and sources from the Internet. He’s meeting with Dr. Joel Mendez further moved him toward the creative life as Mendez became a mentor, encouraging him to paint full time: “He was the one who helped me and placed trust in me.” By 2016, Dematera joined his first three man show under Big and Small Gallery and earlier this year, he had a back-to-back exhibit at the Art Center in SM Megamall. He is now embarking on his first solo show, set for March.

When asked what inspires him, Dematera points to his always colorful and often difficult life. “Everything I went through, I used it as my inspiration and lesson to reach my goals,” he said. “I came from a poor family. I only finished elementary because I had to start working to help my parents.” During this time, he would take all odd jobs, including those in construction or in factories. While he was in school, he was also victim of bullying owing to his cleft lip and cleft palate. “I used to be ashamed of it,” he said. “But I realized now it’s nothing to be ashamed of. I realized as long as you don’t step over anyone, you have nothing to be ashamed of. I’m just thankful for my family and friends, for their support, and that I had the strength to regain my self-confidence.”

This outlook greatly moved Dematera’s work towards aesthetics that reveal an adept sense of composition and technical skill through the depiction of various animals juxtaposed with human elements. His thoughtful reflections, adds to the view point and style he continues to cultivate.

“I want to communicate to the viewers that everything God created is valuable, and thus we should take care of it, big and small,” he said. In addition to the environmental facet of his work, there is also a psychological component driven by his reflections on human behavior. Dematera instills his subjects with animal features not only to underline the “one-ness” living species share but also to represent the prima behaviors and characteristics parallel to those exhibited by human beings.

Indeed, Dematera’s spirit, imagination, and unparalleled work ethic create an inspiring formula that drives him to overcome personal, professional, and artistic hurdles. His enthusiasm is infectious, as he fights for his fundamental right to create.

j joven

The World through the Eyes of Jonathan Joven

By Hannah Jo Uy

Perspective has always been what sets Jonathan Joven apart, both as an artist and as a person. As an artist, he explores the possibilities of perspective through distinctive compositions that subtly communicate his unique view of life and the progress of society. As a person, his approach in life, especially in the pursuit of excellence, showcases such an awe-inspiring resilience and tenacity.


“I want to continue my exploration on how to effectively develop and compose scenes through, first and foremost, the use of ‘worm’s eye view,’” says Joven. “My intention is to effectively communicate my social observations through my paintings.”
The view of an object from below evokes a sense of humility. In direct contrast to the birds-eye view, which provides an overarching perspective, the worm’s eye view makes the subject immense, intimidating, and imposing, making the viewer almost  childlike or, at times, powerless.

Talking about his evolution as an artist, Joven says that he is committed to constantly adding to his understanding of techniques and mediums. “My confidence and boldness continue to grow as well,” he says.

Touching on the pursuit of a creative life, Joven remains optimistic and calm in the face of its accompanying challenges. “We expect this to be part of our hardships and our lot in life,” he says. “Whatever challenges and difficulties that lie ahead must be faced with a sword forged by the never-ending search for knowledge, excellence, and consistency.”

Joven weaves this approach seamlessly with his fascination for memory and inclination toward nostalgia. With much of his time consumed with rethinking the past, he looks toward quaint snippets of the life that was in comparison to life that we know today. “For example,” he says, “look at these games everyone used to play on the streets. Most of the youth today don’t play them anymore. This is brought on by increasing dependence on gadgets and technology. As a result [these street games] are disappearing.”

These thought processes made their way to Joven’s latest exhibit, “Under the Same Sky,” which was recently unveiled to the public at Secret Fresh Gallery. In this, his second solo exhibition, Joven is presenting a total of six paintings, yet he is also revealing a more experimental approach in the use of other mediums.

“I’m trying new mediums such as installations,” he said. “Such as three-dimensional works that, in my opinion, have the ability to be more effective within my creative process. In my experience, in some instances, this approach was able to better communicate what I wanted to say and what I wanted to show, compared to paintings and the use of more traditional mediums.”

As evidenced by the title, the collection reveals Joven’s views on equality in the larger scheme of things. “I believe that, as humans and as Filipinos, we are all equal,” he says. “We are equal in the eyes of God, and in the eyes of our fellow human beings. I wanted to communicate the feeling of being ‘grounded’ to the spectators. All of us, we all stand on one ground, in one surroundings and we are under the same sky, wherever in the world we may reside.”

Joven’s collection features figurative subjects from all walks of life, often thrown against unexpected elements. We see a snippet of a couple dressed in Cordilleran garb in the midst of a traditional dance, positioned against the overbearing nature of urban high rises under the sky of the iconic rice terraces. Another work that gives off the feeling of industrialization drowning the individual consciousness is the one that showcases two subjects planting rice against the city backdrop. We see their somber expression, and we see heartwrenching details such as the mud and dirt under their feet, souvenirs of a life of honest hard work. We look up at the carefree faces of children in the midst of playing, white streaks alluding to white chalk drawn on the ground during street games, a scene that is now considered uncommon.

Published October 30, 2017

Norlie M

MOVEMENT AS MUSE
The Animating Work of Norlie Meimban

Text by Hannah Jo Uy

Norlie Meimban is a master of movement. As a former animator, his unique style is largely drawn from his highly technical background, distinctive visual aesthetics, and evocative concepts, all of which have blended into a celebration of motion as the language of existence.

Following his highly successful career working at prestigious international animation houses, the artist has carved a distinction for himself with his oeuvre, which has evolved and advanced in unique, unexpected ways. Exhibiting in notable galleries and art fairs in the Philippines as well as across Asia and the United States, audiences familiar with Meimban’s work remain enthralled by his exciting, visually stimulating work. With his two most recent shows, he invigorates not only the audience’s emotions but also other senses.

“I’m always experimenting with new ideas related to my craft,” says Meimban. He has always exhibited an inclination for new and emerging media as well as the latest technological advancements, looking at all means necessary to communicate a message. “When we used to do animation, we always had a story, something that audiences could relate to, so that’s what I did,” he adds.

This process, deeply ingrained in Meimban’s mind, has led him to the development of poignant shows that depict nuggets of wisdom in unexpected ways. Most recent of this is his exhibit at Pinto Art Gallery entitled “Apron,” which served as a thoughtful visual narrative on the plight of Overseas Filipino Workers (OFW). “I know many people can relate,” Meimban says, emphasizing the common knowledge that, indeed, among the Philippines’ greatest exports is its own people. “That’s why I made this story. I can pursue a number of other stories through my paintings. But I always prefer something that touches on social realism so it’s something people can understand.”

The human connection that Meimban aspires for was not lost among the people. In “Apron,” he introduces us to Vemma, an OFW working as a household help in Hong Kong. We see snippets of her day, which begins when she wore an apron with a certain pride and dignity similar to a faithful soldier bearing arms for the oncoming battle. Vemma performs her duties, cooking, washing, ironing, serving, walking the dog, all summarized in a short film.

“I met her when I was in Hong Kong, when I was visiting for a show,” says Meimban, sharing the moment he met his subject following his participation at the Asian Contemporary Art Fair in Hong Kong. “I told her about my concept and she told me in great detail what she would do every day. It’s a true story, and it’s a positive one. Many of the news and information you hear about them are negative. This is another side to it.”

Indeed, we fall in love with the humble and proud Vemma, who walks with dignity knowing she stands on her own two feet, earning an honest day’s wage. We marvel at her resilience and praise her determination. She is elevated into a symbol of all those that came before her, those who are bearing the same cross, and those who will follow in her footsteps. Yet, and Meimban stresses, this is not a bad thing as it only serves to exhibit the resilient Filipino spirit.

While his show, “Apron,” was exceptional for its refreshing take on a social reality, his current show in Secret Fresh is noteworthy for his bold move toward more experimental executions. In his show entitled “Layers,” which opened on Oct. 8, Meimban delved into a more eccentric study of multimedia, adding animation video to several paintings.

Offering a more colorful look at his animated subjects, a kaleidoscopic burst of colors bleeds into the background, which pulsates with the music. It shows Meimban’s drive to add vibrancy and vitality into his works.

Meimban is truly a master of movement, but such a title is not only in reference to the remarkable methods he has found to integrate soul into his paintings. It is also in reference to his extraordinary ability to inspire movement in the heart, mind, and soul of his viewers.

Published October 9, 2017

Don B

Action/Reaction

The science behind the creative philosophy of Don Bryan Bunag

Published September 25, 2017, 12:05 AM
By Hannah Jo Uy

According to Newton’s third law of motion, for every action there is an equal and opposite reaction. This law, however, does not only apply to physics, it also extends to the creative philosophy of visual artist Don Bryan Bunag who sees each painting as the product of a rhythmic push and pull between his heart and his mind, and a back and forth between his soul and the canvas.

“What happens in the studio should be a conversation, not a monologue,” says Bunag. He emphasizes that it is vital for the artist to be connected to each element of the composition. “You should be able to discover yourself even deeper. I don’t believe that art-making only happens in the studio. It is more dependent on what happens outside the studio.”

Bunag begins with translating his reaction and proceeds to flesh it out in prose and poetry. He reflects upon an image that can correspond with the concept. As for choosing a subject, Bunag admits it’s all about his intuition, saying that in the initial stages, he strongly disregards aesthetics because it often complicates and pollutes the concept. “No rules,” he stresses. “I don’t think of consistency in relation to my previous pieces, nor do I force myself to stick to a particular subject.”

His love for art has always been inborn. “I love the freedom that art gives me,” he says, touching on both the simplicity and complexity of artmaking as a profession. The works of Andrew Wyeth, along with European romanticists, have influenced Bunag greatly. Locally he expresses admiration for the works of Geraldine Javier, Rodel Tapaya, and Mark Andy Garcia, and his mentor, Renato Habulan, whom he says has had a deep impact not only in his art but also in other aspects.

Outside of the art world, he credits his family, friends and, the people, both those who continue to be in his life and those long gone, even fictional characters, as vital aspects of his evolution as an artist. “They give you the opportunity to know yourself deeper,” says Bunag, for whom persistence and the openness to learn are the key to self-improvement for an artist. He cites that our ability to adapt to changes in society, whether consciously or unconsciously, as equally important.

Bunag has recently been haunted by the concept of time. “It’s scary,” he says. “But it’s also challenging. I can describe every moment in our lives, like a place that we can never return to.” For the most part, time and memory, and the wide spectrum of emotions associated with them, have continued to fascinate him.

This became the catalyst of his latest show, “Underneath the Fleeting Cloud,” which was recently unveiled at Art Verite’ Gallery. “When I was growing up, I would be at my grandmother’s garden and I would often spend my days thinking and contemplating while lying down, looking up at the clouds slowly passing by,” Bunag says. “This was the foundation of my concept. When I was planning for my first solo, I considered a lot of things, but couldn’t settle on one concept. It was frustrating. Then one night, I recalled my fond memories growing up.”

Nostalgia led Bunag to zero in on the fleeting nature of time, as embodied by the formation of the passing clouds, and how no two forms will ever the same. It led him to contemplate on how humans are like “water bodies,” dependent on the sky and whatever is reflected from it. “It’s more on self-portrait in relation to the people who served as ‘clouds’ in my life.”

The muted palette makes the collection light and airy, like memories. The lack of color serves to invite viewers to focus on the context of the work. Though harboring the same affection, he cites “Surviving Wars” as the one that most closely represents the thought process behind the collection.

Bunag’s ability to communicate the melancholia of memory is truly exceptional. Each work connects us to the human longing to go back to the familiar, knowing full well we are not able to. These memories will remain encased in the museum of our past.

‘Underneath the Fleeting Clouds,’ is on display at theArt Verite’ Gallery 2C-05 2/F Shops at Serendra, BonifacioHigh  Global, Taguig City.

Omi R

AN ARTIST'S ESSENTIALS
Omi Reyes ‘Streamlines’

By Hannah Jo Uy

As human beings, our busy minds can often be pulled in a million different directions and we fall prey to distractions. Artists in particular have to strike the careful balance of indulging their restlessness and accepting the natural ebb and flow that comes with living a creative life. This is true even for the most disciplined and focused painters such as Omi Reyes, whose exuberant passion for the arts has led him to wear many hats.

Despite the multitude of responsibilities he carries as a passionate advocate of the arts and active member of the local art community, Omi is, first and foremost, an artist. And this is a fact that he has celebrated with his latest exhibit currently on display at the Crucible Gallery entitled, “Streamlined.” “I love how the Merriam-Webster dictionary defined the word,” Reyes said. “It says, “stripped of nonessentials.” Dictionary.com defines it as “designed or organized to give maximum efficiency; compact.” The moment I got a grasp on the word, I realized it is the perfect definition of my latest works.”

Indeed the collection embodies Reyes’ struggle following what he felt to be a creative downturn or, what is otherwise considered, “artist’s block.”

 “I was like a lens that was going out of focus,” he remarked. “I was not able to finish what I have started. It was mainly because I had too many things going on in my mind.” Omi was bombarded with a host of new responsibilities having been recently elected the president of The Saturday Group, and the work leading up to the launching of the Saturday Group Gallery. “I was not ready for all the multi-tasking that I needed to do,” he admitted. “But in spite of that, I still am a visual artist first, so I had to carry on with my artist duties.”

“I needed a breath of fresh air, a step back, a pause, or in this instance, a help of a friend who would later on refocus my blurred lens,” Omi said feverishly. The answer was a treasured friend, Ricky Francisco, who was also curator of the Lopez Museum. Upon inviting Francisco for a home-cooked dinner Omi divulged his struggle. However, Francisco upon seeing what Omi considered were ‘unfinished’ works was perplexed as he did not find them incomplete as what Omi has otherwise related. “He told me my works are good “as is,” Omi recalled. For Omi, what he saw as lacking, Francisco saw as completed, and what Omi found bare, Francisco discerned as simplified.

“Streamlined is about focusing on the essentials,” Reyes said, emerging from what he initially considered to be a creative dry spell. “That amid the complexities of my worrisome mind when it comes to my artworks, people still find beauty in the simplicity of the fundamentals.”

Reyes will be exhibiting a total of 12 works in each show, comprising of 10 wall reliefs and two sculptures. In a departure from his previous works which predominantly used wood, canvas, and acrylic as mediums, Reyes has injected metal to some pieces, to further elevate its “steampunk” aesthetic. Though metal hues are in line with this particular genre, Reyes felt a tinge of excitement in adding the new element to his work, most especially in light of the satisfying outcome.

His pursuit of mixed media remains evident, as well as his inclination for his steampunk style “Although I use intuition as the basis of my creativity, my fondness of gears, mechanisms, and industrial components makes my artworks fall under this genre,” he said.

Omi likened a new style as a new product that must be tinkered and familiarized so viewers remain entrenched and enthralled by it. Speaking against the backdrop of steampunk aesthetics penetration in the art industry in 2010, Omi remains committed to making himself familiar with the possibilities that lies within this genre saying that he constantly aims to continue “exploring, experimenting, expanding the possibilities that I can venture on.”

Indeed, for this collection Reyes celebrated the minimalistic quality of his work, especially with regard to the monochromatic hues, which never numbered more than three neutral colors of black, grey, and a brown rustic palette that mimicked wood itself.

Instinctive and spontaneous, Reyes creative process remains largely the same though he has managed to embrace the tension that comes with handling the often fickle muse. It has not deterred his approach as he continues to work based on how he feels. “I make sure that every day, I create and my works evolve on themselves,” he said. “My craftsmanship is more of initiated by heart than by head so they just come out involuntarily. I compare it to making melodies. As long as the notes jive and fall in the same scale, new chords and melodies are produced, and in my case, the components and elements of my crafts connect and come to life.”

Published October 16, 2017

Van T

In Celebration of Urban Chaos

Van Tuico’s art is under construction

Published May 29, 2017, 12:05 AM
By Hannah Jo Uy


Van Tuico doesn’t shy away from city life. In fact, for the versatile artist, urban chaos is a welcome sight. He doesn’t long for faraway places and romantic idyll. Instead he finds beauty in the overlooked and disregarded components that make up the world we live in today. With a truly creative eye, he unleashes the potential of these everyday objects through his witty three-dimensional artworks. Indeed his latest exhibit, “Under Construction,” recently showcased at the Vinyl on Vinyl Gallery, embodies the unique perspective that distinguishes him from other artists.

Van Tuico’s early exposure to the art scene was when a friend working as an assistant for Cesar Legaspi introduced him to the master’s works. He remembers these early days with fondness, describing the feeling of privilege that he had in being able to visit Legaspi’s studio. Coupled with the invitations from friends for the art exhibitions at galleries across the city, Tuico says that this “opened his eyes to the world of art.” But the turning point didn’t happen until 2004, when in the midst of pursuing his medical degree, he began painting instead. He credits the late exposure, however, as greater motivation. At that point, he said, he was wiser and his perspective has broadened to have a deeper appreciation of art.

Painfully shy, Van Tuico shared that his foray into art was driven by his desire to express himself and honor the uniqueness of his internal dialogue: “For me, creating art full time is a step of faith. I am a person who is sorely lacking in communication skills and have difficulty in expressing thoughts. Most of the time [I’m] quiet, I don’t really mingle with people and, sometimes as a result, [I am] misunderstood. Art made a way for me to express myself. It made a way for me to talk in a different form…and have fun and learn in the process.”

In “Under Construction,” his platform of expression has taken on bolder forms to encapsulate the spirit of urban chaos. “The show is about observation of things around us,” Tuico narrates. “How development takes place under our noses. It is how materials are scattered, ruined, and somehow exposed.”

Tuico breathes life into roads, walls, doors, sidewalks, skyscrapers, and construction sites, making these stark and otherwise cold materials into striking commentaries on the prevailing issues of the modern world. From his keen observations during walks and drives, he was taken by the endless development projects that seem to be popping up around the city. He would observe the city’s landscape engulfed in endless projects and the increasingly congested skyline and chronicle these architectural and economic undertakings.

“We are a developing country,” he says. “It’s nice to see progress. The pieces in the show are somehow meant to take you back, bringing you to familiar places or probably places you have never been to. It’s about how things are connected, and also how things fall apart. Most important, it’s about how we interact with things around us.”

For the show, Tuico showcases his distinct ability to manipulate concrete, cement, and steel. The collection serves as a significant departure from his early creations, which featured mostly oils and acrylics. The move to incorporate these rough subject matters came naturally, as he began to incorporate gravel and other found objects before graduating to cement and steel. “There’s always a fascination with cement as a medium,” he says. “Maybe because of the color, rigidity, longevity, and toughness.”

Marking the first time Tuico is unveiling an installation piece, the space that he occupies showcases bolder ideas he aims to bring to life. This new dimension was largely driven by his welcoming attitude to utilising unexpected materials coupled by endless hours on research.

“I spend so much time on research, which is important to me,” he says. “I’m always on the look-out for interesting material in hardware stores, junk shops, and abandoned places. But now, I let the material find me. Once you’re in the jungle (or the junk shop), your senses become more sensitive.”

Tuico uses his time gathering materials and refining his aesthetic concepts as a means of reflection, soaking in these elements and their textures, whether they are walls, rocks, stones, or discarded wood. “I admire how they are exposed, ruined, weathered, eroded, worn, and torn—the imperfections,” he says. “They remind me of the intricacies of life and how we are tested through time. It develops character. Also, getting materials we usually don’t even bother with, it’s nice to bring them back to life or take notice of them. I’m always on the side of the underdog.”

At the heart of the matter, Tuico uses these materials as a metaphor and as an important reminder that we, as humans, are always in a state of constant evolution. Tuico sums up his creative philosophy by what he calls the three Rs: React, Relax, and Reflect. “My aim in making art,” he says, “is to heal, calm, soothe, and reflect on life itself.”

D Campos

FORCES OF NATURE
The artist Demosthenes Campos presents a more refined discussion of a subject he holds most dear—the environment

By Hannah Jo Uy

The subtle yet dynamic pulse of nature triggers life as we know it. It is a profound and precise energy that strikes the balance between creation and destruction, life and death, manifesting itself in the growth and decay of flora, fauna, and other species thriving on earth. Demosthenes Campos has been fascinated with capturing this waltz of nature and projecting it onto the canvas through all and every means necessary. But what sets him apart from contemporaries who also aim to capture this force is his ability to zero in on the slightest of changes that are overlooked in the face of bigger natural transformations.

Campos’ drive to capture this subtlety has led him to pursue a more experimental approach. Conceptually, he continues to showcase a more mature understanding of nature by spotlighting its different facets and stages. In a more material sense, Campos has incorporated a number of other unique elements to his work to add more texture, complexity, and movement. Unexpected elements such as sticks, acrylic glass with holes, and test tubes add further depth to his works. These additions mark his evolution as an artist. Indeed, the works represent a progress toward a more refined discussion of a subject that the artist holds most dear—the environment.

Creating according to his mood and often inspired by music, Campos also continues to showcase spontaneity, which injects the collection with a thoughtful, reflective quality. His work ethic underlines the importance of giving into the cathartic process while employing self-imposed discipline, a delightful marriage between control and intuition.

This was evident in Campos’ recent show at the West Gallery, “Sibol.” In “Sibol,” he shares 10 pieces that have been inspired by the hues and movement of nature, while incorporating his muted shades that present a sort of urbane, modern, and streamlined aesthetic.

In this collection, he goes a step further by offering a concrete narrative that zeroes in on the most profound, and perhaps most overlooked, natural process: Growth. Pertaining to the blossom that emerges to signal the spring season, “Sibol” sees life slowly taking hold and through a seed growing to face what destiny has in store.

Part of Campos’ endless fascination with nature, aside from its life-giving properties, is its natural process of decay. In one work, Erosion, Campos offers a geological snapshot. Using his excellent command of hues, he manages to add depth and dimension to what can otherwise be considered a very two-dimensional image. The textures, cracks, and uneven quality show how the soil is worn by time, heaving sigh of exhaustion in its battle against wind, water, and other forces.

In Sprout, a series of paintings in ascending sizes, Campos uses mixed media to represent the seeds’ fight to penetrate the soil and burst into life. The serial nature in which he discusses this process underlines the tension, the warfare of the process, lifting the seeds as protagonists that audiences cheer for and growth as the antagonist to overcome.

The favorite of Campos, however, is a piece entitled The Flowers Already Grew. “I chose this piece because it explains how new life can form in a dry place. It means that there is always hope,” he said. In this piece we see the seeds stretching out to introduce themselves to the world as the small buds develop. It alludes to a certain injection of life, and points out the endless possibilities that come with simply being.

In other works, Campos has already presented flora and fauna, in the same muted palettes distinctive of his pieces, which feature the lush greenery of forests teeming with life, an unfathomable beauty that exists only in the natural world.

In his meticulous narration of this process, however, the beauty of nature was enhanced to have a deeper meaning. It gives prominence to life, and all the processes within it which we must never take for granted. Thus, it is a narrative that promotes respect for all beings, whether seeds, flora, fauna, or our fellow humans, and the very world we live in.

Published November 6, 2017

Jaime G

WHEN A HOUSE IS NOT A HOUSE
There Jaime Gubaton finds home

Text by Hannah Jo Uy

“A good work of art affects people—it even touches their lives,” says Jamie Gubaton. His drawing career started in his early school days. He was the first in his family to venture into art, but his consistent participation and accolades in competitions fortified his decision to pursue Fine Arts at the University of the East-Caloocan. He was an eager student. He was happy to focus on each plate, drawing inspiration from the teachings of, and support from, professors and fellow students.

A pivotal moment came in Gubaton’s senior year when in his first attempt at a national painting competition, the PLDT-DPC painting contest, his entry won the grand prize and became the first directory cover nationwide. That same year he entered Art Petron, where he was also declared the grand winner and his work displayed prominently in the calendar. A few months later, he was the runner up at the prestigious Shell Art competition. These accolades drove the school to name Gubaton “Artist of the Year” upon his graduation in 2003. As part of his natural evolution, he soon shifted away from competitions, joining group exhibitions and holding solo shows.

Asked about his approach, Gubaton says, “I believe that when you work on your pieces, you should always do your best and God will do the rest.” He shares that he begins by meditating on his concept through rough sketches, before finalizing the layout and color schemes. Relying on staged photoshoots if in need of more custom tailored reference points, he admits that he paints on two to three canvases at a time. This, he says, is more effective leading him to work on stages: the first few days he would work on realistic pieces and elements before venturing to textured backgrounds and suddenly moving to patterns and lines. He goes on to enhance the realistic figures through oil, adding that he has developed strong familiarity with both acrylics and oils as a medium. “I used to be a part-time restorer,” he says. “I was working on old paintings along the likes of Amorsolo, Legaspi, Vitalis, Sanso, and Arturo Luz. I can say I learned a lot from my experience handling such paintings.”

As for his style, Gubaton doesn’t see the point of rigidly confining himself to one type of aesthetics. He values the freedom of choices. “I’m happy I explore different styles, but I’m happy to go back to what I really what,” he says. “It’s important to know the fundamentals. I think these aspects define an artist, they have to showcase your journey.”

Gubaton’s adventurous spirit also allows him to explore various mediums, from brass to wood sculpture, but, always, he hungers for acrylic and oil, the former for its ability to evoke texture and patterns according his liking, and oil, for figures that have to be enhanced and elevated in the context of realism.

The artist often refers to himself as a former social realist. It was common, he says, that his old paintings had shanties and addressed political issues, poverty, and religion. “Later on,” he says, “I just want it reversed. That’s why the shanties ended up having more whimsical characteristics, I want it to evoke light and be more positive. I want the audience to engage in a positive manner and offer more pleasant perspectives to showcase the beauty and simplicity in our surroundings.”

Gubaton further built on this during his third solo exhibit entitled “Home,” unveiled at the Artist’s Space of the Ayala Museum in collaboration with Gallery Big, where shares his visual contemplations on the old saying “home is where the art is.” The new collection of paintings, he says, celebrates the comforts of love, family, and peaceful daydreaming in shared spaces, relating not just to structures and its surroundings.

Featuring a total of 12 paintings, Gubaton highlighted a 3ft x 10ft diptych piece entitled You say goodbye, I say hello, as one that stands out. The painting, he says, refers to past memories and future dreams. He also provided audiences with a more personal glimpse of his process when he shared a video clip as he was working on these two pieces, For your eyes only and I see them bloom.

“I like to show the balance in terms of composition and its concept,” he says. “The man-made structure and nature elements, a state of harmony and sustainable progress.”  While working on this exhibit, his family was in the process of building their house in Caloocan City, which gave him more opportunities to reflect on the difference between a house and a home. At the end of the day, Gubaton’s ideal home is “where my family and children can build many happy memories.”


Published December 11, 2017

Butch P

Butch Payawal a childlike wonder

Published August 28, 2017, 12:05 AM
By Hannah Jo Uy

“Remember,” admonishes Butch Payawal, “there are many good painters but only a few artists.” Art, for him, is more than putting color and line to canvas. Art is the careful weaving of ideas to provide audiences with a new lens in which to view the world.

A firm believer that boundaries only exist to be challenged, Payawal has long been a master of reinvention. His drive to constantly push the limits of his definition of art, as well as that of others, is driven by a childlike sense of wonder.

This childlike wonder is what sets Payawal from other artists. It serves as the elixir of youth that injects his oeuvre with a level of freshness. He revels in the unexpected, and each exhibit throughout his long and prolific career unleashed a new dimension of his being, showcasing the infinite capabilities of his creative soul. He is unassuming and unabashed in the manner by which he presents his idea, breaking down preconceived notions on what is and what is not acceptable.

“We’re now in the 21st century and my approach to my recent exhibit is a little bit non-traditional,” says Payawal. This is no more evident than in the title of his most recent show at J studio: “VAMVAMDILANGDAMDAM.”

“Someone asked me why I made that my title,” he says, sharing the quizzical looks he received following the announcement of his latest exhibit’s moniker. “And I said to him, ‘Why do you like to wear your favorite shirt?’” Payawal shares his amusement at his interaction, confessing that he was even more amused in realizing that his simple answer was enough to enlighten those asking.

Initially, the artist considered a show title that signified some sign of our times and hinted at the underlying dark themes shining through the collection. Spoon-feeding, however, he says adamantly, is against his philosophy as an artist as he prefers to let the art speak for itself.

Curiosity is what Payawal hopes most to provoke in the viewer and he hopes to achieve that by leaving things unsaid, by allowing the mystery to seduce the viewer. The playful and lighthearted attitude the artist embodies does not mean he did not invest in painstakingly working and reworking his ideas. “Conceptualization is the hardest part. It takes a long time to think something different and create a fresh start all over again,” he says, not only in reference to the show but to art-making in general.

Indeed, there is an underlying seriousness within the collection, not only in concept but also visually. Tensions and contradictions serve as representations of human character in shades of black and white, further set off by details in red and yellow burning brightly and stealing focus. Animal heads take on human characteristics in dramatic settings and the menagerie encourages viewers to reflect upon moral characterizations and the parallels between man and animal.

Payawal’s ability to dabble and excel using a variety of mediums is drawn from his diverse and multi-disciplinary background. He used to work as an art director and it wasn’t until 2002 that he decided to become a full-time artist and move away from what he called “the stress and grind of the corporate world.” Though he has since gained critical acclaim in both local and international art circles, through exhibits and guest lectures spanning across Manila all the way to Perth, Australia and Paris, France, he is not ashamed to admit even to this day, he has a lot more to learn. “I always want to be a student or an apprentice,” he says. “I feel I need to learn many more things. So it’s always been a challenge for me to present good works every show. I’d like to see something different.”

In his earlier days, his affinity for color was very evident, but lately, as he matured as an artist, he has dabbled in monochromatic work. He says he is now inclined toward the more dramatic monochromes, such as black and white, dubbing the contrasts as the best way to “experience classic chiaroscuro.”  When asked what serves as his biggest influence, he says, “All of the artists in the whole universe, they give me inspiration and aspiration.”

With most of his work now bordering on surrealism, he admits that “from the standpoint of the viewer it has meaning but as for me it has no meaning …you can call me a dreamer but sometimes the absurd means lucid.”  Indeed, Payawal doesn’t venture to explain life or overthink, he creates, he observes, he comments, he laughs, and, most important, he lives and encourages others to do the same.

Ged M

Hands together

Published June 5, 2017, 12:05 AM
By Hannah Jo Uy


“My earliest memory learning about art,” recalls Ged Merino, “was when my mother took me to a mosaic class. I was enchanted by the colors.”

The humility with which he recalls this is in stark contrast to the larger-than-life creations that Ged is now associated with.

Though he spent many years in New York, he has maintained a deeply Filipino consciousness by nurturing an invisible connection with our culture’s affinity for textiles. He remembers watching his mother “give old fabrics new life.” The ability to reincarnate old textiles was something passed on to his mother by her ancestors.

This became innate to Ged as well, leading him to an artistic process that is “spontaneous, intuitive, improvisational.” He could be taken by a color, an image, texture, or pattern and this multifaceted approach makes printmaking an essential part of his practice.

Though he intended to be in New York for only a year, Ged encountered several galleries that encouraged him to stay. He became associated with notable galleries in New York, Chicago, and even Columbia and won a number of awards such as the Jackson Pollock Memorial Scholarship in Arts Student League in New York. He was also named Top Five in the ASEAN Youth Painting Delegation in Singapore. He actively participated in local and international exhibitions and biennales.

Ged maintained a day job for the most part, which took time away from his art. In 2010, after talking to his wife, he resigned from his job. The challenges this brought added a new dimension to his process. “Without a steady income I realized I did not have access to store-bought materials,” he said. “I had to revaluate my approach. I started collecting discarded objects and using them as my materials.”

An encounter with Aze Ong through the Drawing Room Contemporary, a gallery that represented Ged, gave way to a collaboration now known as the GedAze Project, launched at the Bliss on Bliss Art Projects in New York.

Aze pioneered in her distinctive use of crochet. The contrasting yet complementary aspects of their creative process make the GedAze Project unique. Aside from their mastery of three-dimensional pieces and the effort required of their methods and their tactile aesthetics, they also nurture a very organic process.

“Aze’s is more fluid as, in a trance-like state, she flows with the work. She can maintain a high level of intensity for prolonged hours,” Ged explains. “I can be a bit more static and will step back at some point to evaluate, but we are both process-oriented. Where her works are fluid, mine are, in some way, raw. Yet there is that certain tangibility that is unexplainable for us.”

The collaboration helped Aze learn to work with a fellow artist. Initially, she had trouble with sketching and she said this was what led her to follow her intuition. “I would just crochet spontaneously with very little idea of what will come out of it,” Aze admits. “But I would describe my ideas to Ged and he would sketch them for me. I enjoy discovering new ways and techniques.  The magic (of our collaboration) might be the contrast and the similarities, the way they complement one another. But I can’t say for sure. It is still a question for us that cannot be answered.”

As they head off to New York, Ged, to go home, and Aze, for her ACC grant, they have had three notable exhibits at TDR in Escolta Manila, Fundacion Sanso, and the UP Vargas Museum, for their show “Existence,” which was perhaps the largest, most daunting, among the three for the sheer space that the venue offered.

Ged credits the idea of building on the image of the spider as a creator, which was the focal point of the collection, to Aze. “It was natural for me to identify with the spider as creator,” she admits, “creating something out of nothing, in my case, creating something out of yarns/thread. The spiders would create their web as a home and to catch their prey. To me, it symbolizes creativity, strength, resilience, survival, and existence.”

Ged, however, was drawn to the concept differently—the spider’s industriousness and ability to adapt. “Having moved to NYC in the late ’80s, I witnessed how Filipino immigrants would assimilate faster than the others,” he said. “It is one of our outstanding traits.”

Both artists have imparted a distinctively Filipino flavor in their work, especially Aze, who credits her upbringing as a source of inspiration: “Crochet is from Europe and weaving can be found all over the world, but what makes it Filipino is where it is coming from—the heart.”

The collaboration, though daunting in many respects, especially in terms of logistics, has been beneficial for both Ged and Aze. After many discussions and oculars, they were able to complete the process by entering into their respective organic flow. “One’s weaknesses are strengthened by the other,” Aze said, “through exchange of knowledge, discoveries, materials, research. The dialogue between us helps us create better, leads us to new discoveries, and challenges us to create better.”

The GedAze project showcases work reminiscent of organic life forms, as well as both artists’ strengths. The collection presents visual spontaneity that leaves viewers in thrall as they are confronted with the limitless capacity of the human hands.

“I think Ged and I are restless in our own ways,” said Aze, “Working with our hands probably calms us. Our energies are translated into works to share with others. To show others that anything is possible and that after creating all of our works, we are both left in disbelief, thinking: Hey we did that with our own hands?”

Indeed, they did.