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