COVER STORY

“a symphony of luminance” the art of REMY BOQUIREN

“ Spiritual awakening comes when we traverse the path towards the exaltation and glorification of the powerful Almighty God. Only then can we fulfill our ultimate purpose of personal enlightenment by virtue of the grace and love of our Lord and Saviour Jesus Christ through our faith and trust in Him amidst trials and tribulations in life. “

Such is the belief of Remy Boquiren as she faced a seemingly insurmountable hurdle in life in the mid- 1980s. It was the time of political upheaval in the country because of the 1986 coup that saw the transition to new leadership in government. Because of the uncertainty which adversely affected the national economy, her lucrative career as an exhibiting visual artist in the Philippine art world ground to a halt with only trickling of art collectors availing of her artworks. There was also a health issue concerning a growing cyst in her jaw. But all these were resolved when she had a supernatural experience in April of 1986. Alone in her bedroom, she suddenly saw a speck of light grow blindingly bright. She then felt serenity as the light engulfed the room emanating comfort and peace. A spiritual awakening occurred as the Lord and Saviour Jesus Christ lifted her burden and granted her the gift of grace.

Remy Boquiren’s life has always been full of challenges even as a youngster. Born in Surigao del Norte province to Ildefonso Boquiren and Juanita Fuentes in 1940, she and her younger brother were left bereft of a father when she was just two years old. Her mother single-handedly brought them up providing their basic needs with much love. Even then, she was already interested in making artworks as she drew on her notebooks in fifth grade. But there was only limited resources for her family which is not enough for procurement of art references or formal training.

She was able to pursue this interest to the fullest when she shifted college courses from Bachelor of Science in Elementary Education to Bachelor of Science in Fine Arts at the University of Santo Tomas (U.S.T.) in Espana, Manila in the early 1960s. The demure lass from Surigao province experienced an epiphany as a new world of shapes, colors, and forms opened up to her under the tutelage of art faculty mentors Victorio Edades, Diosdado Lorenzo, Galo Ocampo, and Napoleon Abueva among others. These National Artists for Painting mentors recognized raw talent in their protégé and proceeded to push her to strive for the best that she can be. She became the art editor for the student publication Varsitarian after proving her worth winning awards in layout and illustration.

Boquiren then worked for the advertising company of National Artists for Painting Arturo Luz after she graduated in 1964. The year 1966 became a year of new beginnings as she embarked on a new career as a faculty art instructor at the University of the East School of Music and the Arts, and married her partner for life Rizal Conception from Roxas City, Aklan. Soon, there was a family to rear as their children John Eric, Ige, and Carmel Angela came one after the other. It became a fine balancing act as Boquiren had to be wife and mother to her family, and mentor and adviser to her students. For ten long years, her being an artist had to take a backseat as she performed the aforementioned roles wholeheartedly.

The turning point came in 1976 when she took a decisive step to finally heed her calling as a fulltime visual artist. She resigned from teaching and started painting again. Although she has long relocated to Marikina City for more than a decade, she nevertheless held her first solo art exhibition in the province. She stepped back in time and revisited her past as vignettes of childhood memories: still life, landscapes, and various sceneries were depicted from her recollection of bygone years. Though well- thought of, it was her second solo art exhibition also in 1976 held at the ABC Galleries in Manila entitled “The Way We Wear” which became the breakthrough event that launched her artistic career. Art patroness and former First Lady Imelda Marcos attended the opening of the Boquiren’s art exhibition unannounced and purchased most of the exhibited oeuvres. Others from the First Lady’s circle of friends soon followed suit and it became a trend to own a Boquiren, so to speak.

There followed several momentous solo art exhibitions: “They Wear Rainbows” in 1977 and “The Rainbow Women” which were both held at ABC Galleries, the fifth solo art exhibition in 1982 held at the Ayala Museum in Makati City, the November 1993 launching art exhibition of Liongoren Art Gallery “ Kawikaan Tatlumpu’t I sa ” at Manila Pavilion Hotel, the November 1995 solo art exhibition “Sampaguita at Filipina” held at Liongoren Art Gallery at SM Megamall , the tandem art exhibition with fellow woman artist Lydia Velasco “Marikit Na” in 1998 at Marikina Art Center in Marikina City, the “Alay” solo art exhibition at Gallery 139 at SM Megamall, and the “Remedies”(2005) and “Taga Isla”(2006) solo art exhibitions at Renaissance Gallery at SM Megamall in Mandaluyong City. She was also part of group art exhibitions throughout the four decades spanning her artistic career.

When asked about why she chose to illustrate women as the main subject in her paintings, Boquiren responded “The female figure is more gracious than the male, and I have always been fascinated by it. Besides, I wish to depict women not as a submissive but as active partner in the new lives they bring into this world.” Herein lay the power behind her artworks. The idealized portrayal of what a Filipina woman should represent became the thematic concept that underlined her paintings even as it evolved through the years. A narration of the Philippine historical landscape can be gleaned from her characterization of Filipina women through their clothing and way of life stretching back to pre-colonial era, the Spanish colonial era, and the post - colonial era of the 19th and 20th century. This was highlighted in her breakthrough art exhibition “The Way We Wear” in 1976.

Filipina women from ethnic and indigenous group across the country were also sensitively-represented. From the Badjao, Maranao, Manobo, and Yakans of highland Mindanao to those from Apayao, Ifugao, and Kalinga of Northern Luzon, she featured cultural aspects that defined their ethnicity such as the traditional wear and body adornments, weaved mat and clothing patterns unique to their society, and the native musical instruments used within their community to establish their cultural identity. This was made possible through Boquiren’s extensive research on Philippine indigenous textile design when she worked as a Zarzuela costume designer and university art instructor teaching costume design. “They Wear Rainbow” (1977), “The Rainbow Women”, and the 1982 solo art exhibition at Ayala Museum explored this exposition meticulously.

There was so much to be thankful for as Boquiren’s years of success magnified her stature into one of the prominent woman prime mover in the Philippine art scene. Then came the year in 1986 when vicissitudes arrived in droves to test her faith. As a prayerful woman professing piety, it was not easy to admit the doubt that crept in when she experienced career drought, health concern due to a worrisome condition, and nationwide political upheaval all at the same time. But her trust in the goodness, love, and grace of the Lord and Saviour Jesus Christ restored her faith as she witnessed the miracle of light.

The spiritual transformation was reflected in her succeeding paintings as well. All her Filipina women are now suffused with light radiating from within the vicinity of their hearts. Garbed in the traditional ‘baro’t saya’, there is a fresh quintessence of meaning as women go about doing daily chores harvesting flowers and fruits, nurturing their child, or simply enjoying each other’s company. Boquiren’s inborn gentility and newly-found spirituality influenced the mode by which these virtuous Filipina women are depicted. Still exhibiting their characteristic features of willowy form, high cheekbones, slated eyes, dainty nose, and delicate lips on a heart-shaped face, her illuminated women displays inner contentment that emphasized the warmth, beauty, and grace manifested by their creator herself. It exemplifies the Modernist presupposition of Philippine Art’s Thirteen Moderns member Anita Magsaysay-Ho, but done with Boquiren’s distinctive luminance. The bright aura symbolic of the Almighty’s everlasting love envelopes the women completely and transforms them into incorporeal beings offering glory to God.

Her compositions showcase harmony, balance, and symmetry in the manner of classical art tradition. Her superlative use of lighting and proficiency in rendering figuration are definitive aspects of her artworks reminiscent of National Artist for Painting Carlos “ Botong ’ Francisco’s style. There is reciprocal interplay between the figures as she juxtaposes the positioning of their body and gestures. Inverse synergy is established as point and counterpoints are applied to contrive a dynamic configuration. She also utilizes the background of the picture plane to create the illusion of space. The foliaged background transposes the atmosphere of the whole composition into an idealized version of heaven on earth, or so it seem. Her choice of vibrant hues of yellows, red orange, tinges of green shades contrasting with the women’s upper garb of pure white aided in capturing this illusion of lush greeneries amidst celestial backdrop.

Furthermore, she employed iconography in her masterpieces in both micro and macro level. One such example is found in her “Sampaguita and Filipina” solo art exhibition. The word ‘Sampaguita’ is the Spanish term for ‘ sumpa kita ’ or ‘ I promise you ’ , and is associated with concept of love, immaculateness, devotion, strength, and fidelity. The diminutive, white Sampaguita bloom with its

fragrant scent is comparable to the Filipina of the idyllic past whose purity, exquisiteness, and gentle mannerism is much celebrated as symbol of Filipino culture. It also represents the Filipina of today as they face the challenges of modern living with pure hearts, strong conviction, hopeful demeanour, and boundless belief in the goodness of fellow humans. Endemic to the Philippine archipelago, this flowering plant is likewise emblematic of the country’s dedication and loyalty to the promulgation of national patrimony.

Notwithstanding her advanced age, Boquiren is still actively participating in art group activities for personal or charitable causes. As a consultant and senior adviser of the Art Wednesday Group, she imparts a lifetime of experience sharing her techniques in artmaking and encouraging the younger generation to be dedicated artists in reaching out for excellence in their craft. Their weekly sessions keep her abreast of current happenings in the local art scene, and their twice a year art group exhibition benefits philanthropic causes. She is an advocate of the Leukemia Indigents Fund Endowment (L.I.F.E.), a charitable organization that supports medical treatment for children with leukemia belonging to poor families. Through the printing of her artworks on Hallmark Christmas cards, she is able to provide funding in partnership with the Hallmark Company.

Boquiren was also the delegate for the Sentong Pangkultura ng Marikina-Tatag Sining to the Visual Arts Congress of the National Commission for Culture and the Arts (N.C.C.A.), and the Traditional Media Unit of the International Christian Media Unit of the Philippines. Now a widow and a grandmother, she indulges her passion for small scale gardening of unusual plants in her backyard. Exotic orchids ‘Waling-waling’, ‘Birds of Paradise’, and passion flowers co-exist with verisimilitude images in her paintings.

Within the narrative of Boquiren’s Filipina women is the narration of her soul’s search for the sublime power reigning majestically over humankind. “Ang nakikita mo sa artwork ko-ito ako ngayon (What is seen in my artwork is an embodiment of who I am now). I am aware that all things pass. That is why I do not seek to be remembered as simply an artist; but that my artwork somehow directs or points to God”. And in her humble, quiet ways as an intercessor, she was able to capture the magnificence of God’s omnipotence in her magnum opus as guided by the hands of the greatest Artist of all time. – V. Tan Gana