TABLE OF CONTENTS 03 .......... From
the Editor
04 .........
Ordinary Days Made ExtraOrdinary : The Art of William Alcantara
06 .........
In Pursuit of Geometric Abstraction by Vanessa J. Tan Gana
10 .........
Juno Galang
12 .........
FEMINIST ART: The Voice We Need to Hear, the Vision We Aspire to and See
17 .........
Poetry + Art (Written by Abdelilah Jorio and Painting by Abu Jalal Sarimon)
18 .........
COVER STORY --- RAUL ISIDRO : Man of Verdent Vision ---
25 .........
10 Reasons Why You Should Display Original Art in your Home
28 .........
Ismael Figueroa Esber
30 .........
“Speak Your Mind” The Life of an Average by Ingrid Aimee
32 .........
Viel Samaniego
34 .........
How to Apply Artist Residencies, Grants, and more Creative Opportunities
by Ma. Socorro M. Tan Gana
by Vanessa J. Tan Gana & Ma. Socorro M. Tan Gana
by Kira Simon-Kennedy
38 .........
Arnel Garcia
40 .........
Treat Yourself With Art Workshops and Retreats by Marie Woodie
43 .........
Poetry + Art (Written by Abdelilah Jorio and Painting by Roy Espinosa)
44 .........
The Museum and Gallery of Modern and Contemporary Art
46 .........
Benedicto “Bong” Ducat
48 .........
Mark Shellshear
49 .........
Poetry + Art (Written by Abdelilah Jorio and Painting by Pauline Allison F. Espinosa)
50 .........
Roland Rosacay
52 .........
Inspiring Artist Studio Solutions
58 .........
The Right of An Artist to Choose His Own Subject by Arnaldo Mirasol
THE TEAM RUTH CHUA
FILARTS, INC. Publisher
INGRID AIMEE MARK SHELLSHEAR ARNALDO MIRASOL
ROY ESPINOSA
Writer | Contributor
Editor-in-Chief
Creative Director
Editorial and Satellite Business Office : B L13 Gemini Street Cruzville Subd. Quezon City 1124 Email : filartspublishing@gmail.com and/or filartsincorporated@gmail.com
FROM THE EDITOR
Do you hear what I hear? Nope, I’m not singing a Christmas carol. I’m talking about all the buzzing going on regarding the national elections which is still about 200 days away. As the last day of filing for candidacy draws near, people are waiting on baited breath to see the final line up of candidates especially for the highest position in the land. I guess Covid - 19 has to take a back seat momentarily to give way once the election season goes full swing. I pray that the next leader would steer the country towards betterment in all aspects – economy, health, education, civil and international conciliation. Pandemic or not, life (and politics, as we could see now) has to go on. We have to go on. Slowly people are learning to live with the virus, tweaking the normal things we do to cope up and adapt with the existing protocols. But, reality speaking, we still have a long way to go before ushering into the new normal. If only we could make a wish for Covid -19 to just go away and disappear…. Anyways, we’re down to the last quarter of the year and here’s another issue of The Filipino Artists’ Magazine that would somehow calm our senses by browsing thru pages of bewitching artistry makes us forget the chaos of the outside world albeit on a fleeting moment.
RUTH CHUA Editor-in-Chief
Ordinary Days Made Extraordinary : The art of WILLIAM ALCANTARA There is always beauty in the ordinary, as long as you put an effort to it. The ordinary days became extraordinary as he sees it through the lens of an artist. For all we know, an artist is a being whose soul end and heart are connected to the source of beauty, with all of its creations, absurdities and oddities. William Alcantara learn art as the advice of friend Jun Tiongco. To take art lessons to famous art tutorials Rudy Herrera. Born June 24, 1957 Membership : Tanay Artist Group Lakeshore Artist Inc. Rizal Artist Federation Sining Rizal Position : President Tanay Artist Board of Director RAF Board of Director Sining Rizal
4 Ordinary Days Make extraordinary : the art of william alcantara
FILIPINO ARTISTS MAGAZINe 5
In Pursuit of GEOMETRIC ABSTRACTION By Vanessa J. Tan Gana
Structure. Space. Geometry. Deconstruction. Reconfiguration. Fragmentation.These are the words that best describe the visual imagery found in my artworks. It can be categorized under Geometric Abstraction. ART HISTORICAL ASPECT Under the guise of Post-Gestural Abstraction, Geometric Abstraction has a long line of history stemming from a need to address the discontentment in portraying Realism as a mimetic discourse on reality in the early half of the 1900’s. Purity of form through the use of non- representational compositions positioned in unadulterated spatial platform became the norm by which to tackle concepts of reality as perceived by the viewers. New parameters involving reductive processes were explored by pioneer artists emerging from the haze of Modernist era which was at that time immersed in the emotive painterly gesticulations of the abstract expressionists. Non-objective art was established as a response to the clamour for expressing the “truth” as to the materiality of the picture plane with the elements of plasticity and two-dimensionality of the composition allotted primacy over the creation of illusionistic space as practiced in Realism. The road to Geometric Abstraction was paved gradually first with the experimentation on deconstructing figures as an expression of multiple views and time-space continuum in Cubism and Futurism. It was here that basic geometric shapes were harnessed to depict the numerous bisections involved in representing the “new reality”. As it is, the move from representational to non-objective depiction of forms using basic geometric shapes was a move from the realm of emotive expression to that of the conceptual iteration. There was a deliberate shift in focus to the pure formalist elements such as lines, shapes, and colors as a means to situate the idea of what is real. Color field as exemplified by Mark Rothko was one example of the transitory link between abstract expressionism with its gestural signature and the reductionist purity of Post-gestural Abstraction. The linearity and geometrics involved in the execution of Post-Painterly Abstraction attests to the deviation to “impersonal arbitrary techniques” of mark-making which seemed to expunge any signs of authorship of its creator. What is left is the essence of the concept wielded in abstraction through pure color and forms without the intrusion of gestural distractions. Kenneth Noland’s reductionist approach highlighted form, design, and composition via geometric symbols / constructions saturated with uniformly applied flat colors. His irregularly-shaped canvas acted as a compositional framework which emphasized the “object-hood” of his paintings, further distancing it from personal/subjectivist leanings. The resultant visual imagery alludes to consumerist marketing of “brand” more in line with iconic product logo designs. Joseph Albers perpetuated this method further with his color theory as exemplified within his “squares”, while Ellsworth Kelly practiced his hard-edged “spectrum” paintings. But it was Ad Reinhardt who introduced Minimalism as an artistic movement with its own set of rules and preambles governing its manifestation as elucidated in his “black” painting explorations. Similarly, Frank Stella first became known for his minimalist, hard-edged paintings. From conception of his solitary lined blacks to the multi-colored shaped canvas, Stella also submitted to the concept of “object-hood” as rhetoric for his artworks through his extensive use of linear, geometric forms and flat colors.
6 in pursuit of geometric abstraction
In contemporary times, there is the resurgence of this tendency to use the visual language of geometry and angularity to express or explore the spatial concepts. Whether it be in terms of minimalist application of isolated elements to configure a space as in the case of Ian Monroe’s architectural space projections or the juxtaposition of patterned-configurations as can be found in Sarah Morris’ distinctive works, this trajectory of Geometric Abstraction is but a continuum of the conversation started decades ago by the pioneers of post gestural movement in Western Art. ABSTRACT Structure. Space. Geometry. Deconstruction. Reconfiguration. Fragmentation. The premise underlying the progression of my artworks came from the need to depict possible structural configuration of deconstructed geometrical elements within a given planar space. This involves situating the interlocked forms in an arbitrary spatial spectrum that neither deny nor affirm the presence of illusionary perspective. There is an attempt to do a navigational interplay of colors and forms as a means of “containing” or “entrapping” a vacuum. An additional objective is to make the contained vacuum assume volumetric density by making it appear gravity-bound even as it appears suspended in mid-air. There are actually three trajectories explored in the use of geometric abstraction. Notions of deconstruction, reconfiguration, and fragmentation were adapted as processual techniques to exemplify the boundaries of spatial containment. There is the dichotomous physicality of absence and presence when dealing with configured structure in space. And the images’ three-dimensional visual perception hinges on the layering of interlaced elements making up the structure/s as it settles on a two dimensional platform. THE ARTWORKS Composition 1 to 6 (12 in. x 12 inches each) demonstrated the nature of the artwork as discussed above. It employed the deconstruction of basic geometric forms, followed by its re-assembly to form new configuration. There is a viable attempt at showing “porosity” or the depiction of void within a volumetric mass. And the allocation of the assembled structure within a spatial spectrum is emphasized.
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Composition 7 (36 in. x 48 in.) and Composition 8 (20 in. x 16 in.) adhered to fragmentation as the process best suited to typify patterned abstraction. The prismic interpolation of different-hued, triangular forms generated luminosity akin to how gem-like architecture disperses absorbed light.
Composition 9 and 10 (36 in. x 24 inches each) is a diptych artwork comprising the concept of reconfiguration. Here, the assembly of diverse geometric forms imitated a graphic layout of either an urban sprawl or the intricate architectural façade. The monochromatic color of the elements and varying geometric scales adds to the illusion of depth and mass to the projected structures in space.
8 in pursuit of geometric abstraction
RELEVANCE The exploration on Geometric Abstraction as seen in my artworks is relevant to contemporary times as it addresses an aspect of artistic expression which crosses over other sector of design industry such as architecture and interior design, streamlined product and manufacture design, as well as in the fashion and luxury product design. In terms of conceptual and formalist discourse in art, I believe that it attempts to represent a concrete manifestation of how a conglomerate structure projected in space implicates multiple parametric narratives on a planar surface as evidenced from the interplay of colors, shapes, and forms.
Composition 11: ODE TO THE FILIPINO OLYMPIANS (2021) ; acrylic pen on paper board This artwork is dedicated to the Filipino athletes in the recently concluded Tokyo Olympics 2020.
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Dapit Hapon Acrylic on Canvas 48 x 36in
Magbubuko Acrylic on Canvas 24 x 24in
10 JUNO GALANG
Street Musician Acrylic on Canvas 36 x 48in
JUNO GALANG
Fresh Island Floral Acrylic on Canvas 30 x 40in
“ Painting is my first love and passion. My art evokes the emotion of the viewers and the true colors of life. It expresses and reveals part of my heart and soul, it is a balance between the beauty of human existence in the style of abstraction, cubism and distorted impression. “
Juno Galang’s choice of colors on canvas predominantly lean towards a warm and vibrant hues of purple, green, yellow, red and blue, which characterizes his true nature. Every brushstroke is a desire to achieve perfection that will reflect the beauty and tenacity of our hard working countrymen and his lifelong journey of seeking continued growth, both as an artist and a family man. Juno Galang was born in Santa Cruz, Manila in December of 1942. He studied Fine Arts, majoring in Advertising, at the University of Santo Tomas. Naturally inclined towards drawing from an early age, he was mostly self taught and spent most of his teenage years hanging around in Ermita, Malate ( the Greenwich village of Manila ) It was there, in the pioneering galleries, where he learned painting techniques from some of the finest master artist of the era. He immigrated to the United States in the mid sixties and lived in San Francisco. After many years of an adventurous career as a freelance artist / illustrator in the cities of San Francisco, Seattle, New York and Vancouver, he moved and relocated to Honolulu, Hawaii to fulfill his lifelong dream of painting full time. Hawaii’s art market proved to be a perfect place for him.After 22 illustrious years as an artist exhibiting his works in galleries all over the United States, he decided to retire and move back to his beloved country. After setting up his home studio in Paranaque, he veered to painting modern and vibrant combination of colors in the form of cubism and modern Impressionism style as influenced by Van Gogh, Gauguin and Picasso. At this point in his artistic journey, he pays tribute to street vendors, village fishermen, farmers and front liners - the true heroes of our society. Juno Galang’s works mirrors his life - one that is full of happiness, energy, optimism and hope. Juno Galang / galangj001@gmail.com / 09175963690
Bayanihan Acrylic on Canvas 36 x36in
FILIPINO ARTISTS MAGAZINE 11
FEMINIST ART: The Voice We Need to Hear, the Vision We Aspire to and See By Ma. Socorro M. Tan Gana
Did it ever cross our minds, “why there is no female Michelangelo or da Vinci? ” According to Linda Nochlin, “ the fault lies not in our stars, our hormones, our menstrual cycles or our empty internal spaces, but in our institutions and educations.” Feminist art - Wikipedia. Perhaps, to write about feminist art, at this generation, remains an issue of radicalism. But as the Duchess Meghan Markle herself reiterates, “women don’t need a voice, they have a voice.” WE HAVE A VOICE. In whatever forms: painting, performance art, photography, written poetry, spoken poetry, conceptual art, body art, crafts, video, film, fiber art, and a lot more on print, social media and other mediums of representation – ART created by women, for women, of women is a VOICE, we could aptly call FEMINIST ART. Feminist art is not a radical idea. It is, as defined on Wikipedia “a category of art associated with the late 1960s and 1970s feminist movement. Feminist art movement emerged in the late 1960s. It is at this time that female artists sought “to rewrite a falsely male-dominated art history”. Suzanne Lacy, a feminist artist elucidated that feminist art goal was “ to influence cultural attitudes and transform stereotypes. Thus, through feminist art, opportunities are created and path paved for spaces that did not exist for women. Looking at the historical backdrop, women artists were in oblivion. Generally, women everywhere in the globe were tagged as caregivers for their families during those eras, and were never given the chance to have formal art schooling. Lucky enough for the women in prominent upbringing who have leisurely time, to be trained to create landscapes and still lifes. Today, is a different story. Women can choose to go to art school, engineering, medical or law schools. Women can scuba dive, choose a role in film that previously thought as taboo. We write poetry and create spoken poetry uncensored. In social media, women of all colors and sizes can post themselves in any “art form” with a strong message of self-love, acceptance and inclusivity, and not for the purpose of a male gaze or plainly sexual objectification. No, none of it is pornography. This writer agrees, feminist art is in the actual works because the feminist artists of the previous eras worked hard for it. Feminist art like the women artists who created them in the womb of their hearts and minds tell a story beyond a movement, a way of life “to shed light on inequities in the art-world.” To look closely at the history of feminist art is to witness many shattered ceilings. GRATEFUL is the appropriate word for these feminist artists who dared to struggle, to rebel “against the socially constructed ideology of a woman’s role in art”. It is worthy to note, as an example, Yoko Ono’s “Cut Piece” , 1964. As a pioneer of conceptual art, her performance art aimed at forming a critical analysis on “societal values on gender”. Her work magnified a woman’s societal standing where she is regarded as an object. For it is an immemorial fact that objectification of women is one of the oldest forms of violation of women. May Beth Edelson’s “Last Supper, 1972 “appropriated Leonardo da Vinci’s The Last Supper, with the heads of notable women artists collaged over the heads of Christ and His Apostles. This manifested the role of “religious and art iconography in the subordination of women. Thus, becoming one of the most iconic images of the feminist art movement” (Wikipedia) 12 FEMINIST ART : THE VOICE WE NEED TO HEAR, THE VISION WE ASPIRE TO AND SEE
May Beth Edelson’s Last Supper, 1972 untitled-magazine.com
In 1972, the first feminist magazine, “Ms. Magazine” was published profoundly to “make prominent feminist ideas, voices and arts available to the public. Gloria Steinem, its co-founder punched her famous line “a woman needs a man like a fish needs a bicycle.”
The first preview of Ms. magazine was published in December 1971 by New York magazine. The cover, illustrated by Miriam Wosk, depicts a pregnant version of the Hindu goddess Kali using eight arms to hold a clock, skillet, typewriter, rake, mirror, telephone, steering wheel, and an iron. Ms. (magazine) - Wikipedia
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In the 1980s, feminist art is seen as a constantly changing project, that is shaped and reinventioned in relation to the persistent struggles of women. It is not static, but breathing continuously to attune to the beat of the times. When the Museum of the Modern Art in New York was opened in 1985, out of 169 artists chosen, only 13 were women. In the light of this obvious disproportionality, came the birth of Guerilla Girls who focused on creating “bolder more in your face identity”. Their art posters “strip” the subordinate role that women played in the art world. In the Philippines, CNN Philippines LIFE features an article on April 15, 2019, “A Beginner’s Guide to Feminism”. The article features the various literature artworks of renowned bastion of feminism in our country. The “Woman Question in the Philippines” by Sister Mary John Mananzan, OSB. “According to Gantala Press’ Faye Cura, this booklet by Sr. Mary John Mananzan offers an introduction to the state of women in the Philippines. “It contextualizes the oppression of Filipinas within the country’s colonial/neocolonial history,” she says. “It [also] discusses the challenges faced by women today — inequality and discrimination, gender - based violence, trafficking, and poverty, as well as Filipina women’s constant efforts to overcome these through feminism and the women’s movement.” (CNN Philippines LIFE)
DALOY I and DALOY II, are feature writings about the struggles of migrant women. “In 2016, together with the publishing outfit Youth and Beauty Brigade, Batis AWARE published “Daloy 1,” a zine that features writings of Filipino migrant women. In 2018, Batis AWARE and YBB published “Daloy 2,” which dives deeper into the issues of Filipino migrant women — their day-to-day struggles, the abuses they face, and the continuous fight for their rights, among others.” In Centennial Crossings, “ the editors Fe Mangahas and Jenny Llaguno shine a light on how babaylanism is the inherent source of a Filipina’s strength and that babaylanism may perhaps be the forebearer of the women’s movement in the country.” Sarilaysay is a book by Dr. Rosario Torres-Yu, a professor at the University of the Philippines, who has authored various research on Philippine literature, language, and gender studies. In this book, Torres-Yu presents 20 Filipino women writers who have made their voices heard throughout history.” Sa Ngalan ng Ina/In the Name of the Mother: 100 Years of Feminist Poetry” This book was edited by poet Lilia Quindoza-Santiago. “It is the first collection of Philippine poetry by women of this scale and magnitude, beginning in 1889 up to the country’s centennial celebration,” says Faye Cura. “Containing scholarly texts on the women’s movement and feminist poetry, it exposes women’s participation in the grand project or ideal of ‘nation-building’ or ‘writing the nation.’ Super cool too because it unequivocally declares itself as a feminist collection.” A lot more exquisite form of feminist art literature including films are featured in the CNN Philippines Life feature on April 15, 2019, that are highly notable to visit – to hear and see. 14 FEMINIST ART : THE VOICE WE NEED TO HEAR, THE VISION WE ASPIRE TO AND SEE
“Upheaval” described as a disturbing piece of art is mounted in Tagaytay Highlands. A 68 x92 acrylic and fabric collage on canvas by Imelda Cajipe-Endaya. An inviting, inciting mural, created by the woman artist for all seasons. Meps, as called by her friends is an advocate of women and nations’ history and culture. She co-founded Kasibulan. (Philippine Daily Inquirer, April 10, 2017). Her artworks are proof of her staunch advocacies. How many Imelda Cajipe-Endaya are perhaps waiting to be discovered?
Imelda Cajipe-Endaya: Woman and artist for all seasons By: Alma Cruz Miclat Philippine Daily Inquirer / 01:00 AM April 10, 2017
Pacita Abad, the highly acclaimed Filipina artist and activist worldwide has left the art world a legacy of trapunto painting. Her “prismatically coloured canvases and mixed-media techniques defy categorization” (OCULA), that are etched in the world of surreal notable arts.
Pacita Abad and one of her marvelous feminist artwork. https://www.brooklynmuseum.org/assets/system-images/remote/http_cdn2.brooklynmuseum.org/fab/images/919.3562.jpg
FILIPINO ARTISTS MAGAZINE 15
Feminist art transcends cultures. We are a generation blessed with women artists in all forms of category and medium who despite the colossal tasks of breaking the unbreakable barriers of sexism and racism, manage to cut through the barricades and hit the ceilings loud and hard with their acknowledged calling – the FEMINIST ART. Today, with more women artist striving to define their unique individualism, we earnestly await their contribution with the hope that FEMINIST ART will sustain. To borrow from Rupi Kaur’s Milk and Honey, 2015: “For you to see beauty here Does not mean There is beauty in me It means there is beauty rooted So deep within you You can’t help but See it everywhere” (Rupi Kaur, Milk and Honey, 2015)
16 FEMINIST ART : THE VOICE WE NEED TO HEAR, THE VISION WE ASPIRE TO AND SEE
Poetry + Art
What is surreal and dummy on this web? This brush only lays questions Rutilating and beautifully orchestrated discomfort Looks like iridescent colors We feel the fibres breaking during this perilous contact between the gesture and the flat surface which has become pond of so many undeclared conflicts Sometimes I think the artist loves his forms of hateful love What if eyes just lie? What if all of us were just appearing? Forcenés who are proud of their guided appearance Beings forced to smile, win at all times and child so many hidden marasms? Color was so much violence Putting our colorful shells into ostentation Our little moments of circumstances and gestures learned by heart Our heavy shadows that sleep at the bottom of our unknown being became den Walking around the city, pictures, noises and always the same words of circumstance Even at night we make it a brain madness We dissect and burn it in our neural prisons How did we get to live where even the colors lie! A world where the eyes only close to a landscape to erase and forget it! So much violence in this fresco Our scars and statures of lost men Written by Abdelilah Jorio September 9, 2021 All Copyrights Reserved Painting by Abu Jalal Sarimon
Abdelilah Jorio FILIPINO ARTISTS MAGAZINe 17
RAUL ISIDRO : Man of Verdant Vision By Ma. Socorro M. Tan Gana and Vanessa J. Tan Gana “A picture is a poem without words”- Horace Looking at his masterly art works is like reading poems ablaze with emotions. One cannot ignore the vivid beauty, memories, peace or sense of healing that his arts convey. His every art work is an experience. They are masterpieces. Yet, the prolific contemporary Filipino artist, Raul Isidro, who is a national artist nominee, a TOYM awardee, a Lifetime Achievement Awardee of the City of Paranaque, Outstanding Samareno, and Outstanding Thomasian is nothing short of remarkable humility, hardwork and pragmatism. Born in Calbayog City that is rich in culture, nature, religious history and economic challenges, Isidro grew up to be a man of discipline, perseverance and fortitude. Consistently, all these sixty years and going, his thriving success as a renowned contemporary Filipino and Asian artist can be attributed to his dedication to his profession and passion to contribute. In his latest interview with the GKTV Network, when asked about his message to young artists, without hesitation, he said “maging masipag,” “Practice of visual arts is a profession that we must do. Panindigan ang obligasyon sa community, tapusin ang trabaho.” His practical advice is a result of years of sacrifice and non-negotiable hardwork. In 1960 when he started his Fine Arts Degree, Major in Advertising in the University of Sto. Tomas, art books were scarce. He also had to study and work to earn. There was a time that he sold his water color artwork for Php5.00 at that time. His parents wanted him to be an Architect but he followed his heart and pursued Fine Arts, despite knowing that artists’ lives during those days were in the gutter. For them to gain recognition and earn money to buy their materials, they had to join art competitions. After graduation in 1965, Isidro was able to join the distinguished Shell National Student Art Competition, as a Fine Arts Student in Philippine Women’s University (PWU) where he enrolled. He won second prize for his “Way In” and received a Certificate of Merit for his “Genesis of Man”. When asked about Isidro’s advice as to preparations needed by young aspiring artists, he told the GKTV Network it is “to establish bio-data, to keep their files, clippings, pictures and awards.” Nancy T. Lu, on December 3, 2013, wrote in Living and Loving Art, “ a random look at Isidro’s albums of old newspaper clippings leads to the discovery that the erstwhile student of PWU won first honorable mention (Php100.00 and a Certificate) at the 1967 on the spot painting contest sponsored by the U.P. President’s Commission on Culture and the School of Fine Arts.” Isidro held his first one-man-show in 1969 at the La Solidaridad Gallery in Malate, Manila. It was about Lunar Travel and Lunar Orbits, (IanBelleza.com, 2020) “inspired by man’s first landing on the moon” (Nancy T. Lu, Living and Loving Art, 2013) where he won First Honorable Mention at the Art Association of the Philippines in the same year. His first solo show at La Solidaridad Gallery in 1969, “alerted critics to his unique ability to fuse technique with a naturalist sensibility that was linked to another modern free spirit, the National Artist, Jose Joya (GalerieRaphael.com).” Joining and winning in the National Category Art Competitions have been Isidro’s stepping stone to success. He also taught as a full-time teacher at the Fine Arts Department of the Philippine Women’s University. He worked 16 hours every day. He thereafter, became the Dean. “In 1977, however, Isidro left teaching and became a full-time artist”, (IanBelleza.com, 2020). Being a full-time artist, is how he supported his Family. In 1985, he and his Family lived in California USA, and returned to the Philippines in 1995. According to Isidro, despite being an artist in the US during those days, and being part of an Art Council, he still felt that his years of practice were lessened. FILIPINO ARTISTS MAGAZINe 19
Blue Reflection Acrylic on Canvas 24 x 36in 2019
Yellow Composition Acrylic on Canvas18 x 22in 2020
Isidro believes that artists in these times, have bigger exposure and opportunities. Collectors are investors. Their presence is a huge support to artists. The social media is also an immense help to them. “Even after more than a hundred solo and group exhibits held in the country and in major cities in USA, Israel, India, Indonesia, Spain, West Germany, France, the Netherlands, Hong Kong, China and Singapore, Isidro remains the same hardworking artist who paints almost every day, ( IanBelleza.com, 2020).” According to Isidro, at this time of the pandemic, he paints 12 hours a day. When asked about the “attitude of an artist”, he said that the correct attitude is to have the “enthusiasm to paint, to work”- sipag ang kailangan”. Isidro also added, that an artist needs a big space, “working space is important.” ( GKTV Network Interview, 2021). Raul Isidro’s body of works typify a stylistic immersion in Abstract Expressionism which originated as a Western Art movement in Europe and U.S.A. from the second half of the 20th century. It was a response to the clamour for self-expression of visual artists through the depiction of non-objective images free from restrictions as to structure and technique. Grounded in this tradition, Isidro’s paintings depict characteristic re-presentation of altered realities using various medium and methods. There is a spontaneous and intuitive approach to fabricating the composition. Though signifying an inkling as to a particular subject matter, it is still the process of conception and the uninhibited exploration of materials that govern the creation of his artworks. It is his lifelong interest in nature and a deep appreciation for landscape that predetermined some of the thematic thrust of his oeuvres. Natural elements with its organic and biomorphic forms populate a number of his canvas, but so does rigidly-segmented shapes of vivid hues and color. The pre-eminence of his circular painting presupposes an allusion to the cyclical patterns perpetuated in nature. Incorporated within it are the visual cadence of imageries rhythmically arranged with point and counterpoints to establish a harmoniously balanced, over-all configuration.
Right : Fragments Acrylic on Canvas 36 x 48in 2020
20 RAUL ISIDRO : MAN OF VERDANT VISION
Friday Routine, 2015 | Oil on Canvas | 36” x 36”
His “rock” series is an apt example of how he intuitively deconstructs forms. The momentous and monumental volume is transformed into lyrical distilled articulations of syncopated components suffused in luminance. He states that “It is a simple subject. I think about it and look at something I can develop on my own. Rock formation is just rock, but you can develop it in different way of seeing. That’s how I think (Business World, 2018).” A consummate abstractionist to the core, Isidro reverts to intentionally-contrived textured strokes of colors applied ostensibly throughout the canvas via the gestural movement of his brush. Glimpses of ethereal admixture chroma vividly peeking through dense swathes of calming blues, intense yellows or modulated greens speak of an otherworldly depiction of the topography of his hometown, Calbayog City in Western Samar. A variation of leitmotif substantiates a transition into another sphere of interest close to his heart: that of replicating the forces of nature as well as the dynamism of human motion. In a sense, he is a virtuoso whose power lies in capturing the kinetic energy expended upon by a burst of exaltation akin to triumph. Manifold experiences from his decades of observing the nuances of life and his surroundings equipped him with a unique visual syntax which defines the narrative of his artworks. He is like a magician who conjures wondrous visions that defy logic; allied to this is the subconscious appeal to the senses heightened by the mystic ethereality comprising the symphony of forms. Isidro through appropriation of gestural movement, lyricism, fluidity of rendition, and emotive use of color, was able to encapsulate the true spirit of Abstract Expressionism. He combined action painting, automatism, and mood-engaging color field in his mastery of techniques while at the same time tapping the subconscious terrain of the surrealists: “ My works are mostly abstract because I want to have free expression, that’s why I do it expression of whatever I see (Business World, 2018).” And it is indeed an eloquent euphony of captured thoughts and impression that he presents for the world to see.
22 RAUL ISIDRO : MAN OF VERDANT VISION
Green Fields 2 Acrylic on Canvas 24.5 x 28.5 2021
FILIPINO ARTISTS MAGAZINe 23
Red Cloud Acrylic on Canvas 24in diameter
Green Acre II Acrylic on Canvas 24in diameter
His recent piece de resistance portrays important aspects of his life’s work. The circular series Red Cloud (2012) depict vestiges of shadowed formations as signified by the dashes of red triangles and dusky silhouettes. Blue Reflection (2019) and Fragments (2020) showcases a dialectic approach in typifying arrested motion with abstract forms seeming to float in Fragments while violent thrusts propels them in Blue Reflection. In Yellow Composition (2020), the interplay of color transparency and translucency and the symbiotic interaction of gradient forms define the painting. Green Field (2021) is a sublime calligraphic composition evincing the lyricism and subtlety for which Isidro is known for. Recognized as a pioneer of Philippine Modern Art with his distinctive artistic style, Raul Isidro continues to trailblaze a path towards the elevation of Filipino arts and culture. A persevering man is he who “with his persevering art, “has shown us not only glimpses of the world, but true and tactile representations of it, albeit in abstraction.” Isidro is a genuine role model to all young and aspiring artists. His is known for his “legendary work ethic, with his brilliant art always on firm ground. (Inquirer. net, Lito Zulueta, 2018)” He is most importantly, one of our country’s pride and honor in the field of visual arts. When asked, if he is awarded the National Artist Award, Isidro said, he would help young and poor, struggling artists. (GKTV Network Interview, 2021). At 78, Isidro and his art continue to evolve and transcend remarkably with the passing of the years.
24 RAUL ISIDRO : MAN OF VERDANT VISION
10 Reasons Why You Should Display Original Art in your Home Although many people will admit to enjoying art, decidedly fewer will seriously consider purchasing original art to display in their home. There may be several reasons they choose not to, but let’s look at some reasons to take the plunge and purchase original art, or even start a collection in your home! Although a mass-produced print or photograph may be easy to locate and affordable, an original work of art is something you invest in, providing years of enjoyment, and even something you may pass on to future generations! Here are some of the top ten reasons to purchase art for display in your home: 1. ORIGINAL ART BRINGS LIFE TO A SPACE You have heard the old saying about a house is not a “home” without love. Artwork can do the same for your abode. When displayed in your home, original art can change the feeling one experiences in that room, making it more comforting and personal. Some say art humanizes the space, giving it character. Artwork hung on the wall or displayed on a shelf makes your space unique, as a viewer sees something not found anywhere else.
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2. ORIGINAL ART REFLECTS YOUR PERSONALITY Let’s face it; you choose art that echoes your sentiment. The art you display may tell a story: either about the purchase experience, the places you may have visited in the search for that piece, or as a representation of somewhere special you have been. If you live in a rental, you can take that feeling and move it anywhere, transforming that house or apartment into your personal space. This allows you to turn any place you live into a representation of you. 3. ORIGINAL ART CREATES FOCAL POINTS IN A SPACE You can improve any awkward or oversized room with a dramatic piece of original art. Draw attention away from unattractive aspects of a space, like drab colors or ugly furniture in a furnished apartment, with a vibrant painting or sculpture. 4. ORIGINAL ART INSPIRES A FEELING IN A ROOM Rooms have specific purposes in the home, and art can endorse the meaning in the room. For example, a bedroom is a haven for sleeping, so you can choose pieces which are soothing and encourage relaxation. A child’s room can be filled with works which incite learning, discovery, and whimsy. Kitchens and dining rooms are intended for visiting and working together. Pieces which do not take center stage, but encourage a feeling of togetherness would support that atmosphere. 5. HANDMADE ART SHOWCASES THE FULL PERSONALITIES FOUND IN A HOME Unique, varied works of original art represent the varieties of personalities found in a family. You can also showcase sides of your personality, with pieces which represent love and tenderness, as well as a daring and inquisitive side with bold pieces that speak differently. A home broken into different rooms allows you to express all those sides of yourself (and your family), as you can create unique spaces in one location. 6. ARTWORK INSPIRES FAMILY MEMBERS (TO EXHIBIT THEIR OWN) Art inspires creativity in viewers. Displaying imaginative pieces may motivate family members to try their own hand at painting, drawing, or photography. Your own children likely have produced a variety of creative pieces which may be waiting to be displayed. Why not exhibit them like your professional works? Who knows, you may have an artist in your midst! 7. ORIGINAL ART STIMULATES CONVERSATIONS A piece of work considered edgy or abstract sparks conversations between viewers, sharing what the piece means to them. Certain scenes or images contained within pieces may lead friends and family to share feelings generated by the artist’s expression and own experience.
26 10 REASONS WHY YOU SHOULD DISPLAY ORIGINAL ART IN YOUR HOME
8. ART REMINDS OWNERS OF PLACES THEY HAVE TRAVELLED More than just the journey to find the artwork, the exact location or scenario contained in the work may bring memories to the collectors of events which have occurred. A painting from Paris may remind the owner of a magical trip taken on a honeymoon or cultural voyage. 9. ORIGINAL ART SUPPORTS INDIVIDUALS There is a reason for the term “starving artist’; original art is often labor-intensive, and skilled artists simply don’t earn much for large amount of time, materials, and creativity which goes into their efforts. It often takes years of effort and their own dedication to marketing their works. If you are drawn to art created in less affluent parts of the world, the income is even less. By purchasing works from struggling communities and lesser known cultures, the art you bring back may benefit their economies, increasing tourism by inspiring others to visit and discover the unique talents found therein. 10. ORIGINAL ART IS A SOURCE OF PRIDE FOR THE OWNER This fact cannot be overlooked. Many budding collectors have hesitated to purchase works of art due to the sheer cost and steps involved. Owning an art collection is often seen as a mark of wealth or status, which can be intimidating to some and a driving force behind the process of collecting to others. You do not have to compete with professional collectors or spend five figures to discover pieces of original art which reflect your own personal taste! There are many reasons to purchase original art, and as you can see, you need not be an expert or wealthy to fill your home with art. Trust in your taste and search for pieces which fit your style and budget, and enjoy a life filled with art! At Sybaris Collection, we show you unique and inspiring artwork discovered around the world, by both emerging and established artists. Let us help you cultivate your taste and find treasures that speak to you, no matter your style, genre or medium.
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28 ISMAEL FIGUEROA ESBER
ISMAEL Figueroa ESBER Speaking of core philosophy and experience in art, his world in advertising is aptly always a foundational integrity. Ismael Figueroa Esber, guided his long time career found himself doing abstracts art to most by adding a deep sense of sophistication in figurative realism to contemporary rendering, undoubtedly meets his cutting edge and beyond, manages depth that resonates in his full time career in painting. Need, but to mention his Award from prince trust in the Middle East ‘Kingdomwide campaign ‘Art for humanity’ held in 2014, and on ‘Best in Figurative exaggeration’ trophy in 2018, serves an inspiration to share. Artist statement: Acclaimed to be as always timeless, strive to be authentic, be bold enough and learn to capture your imaginations. ESBER FigureISM an obsession with physical urges, an intense focus on the physical body or the needs of the playfulness, sensuality, theatricality, fluidity, musicality, subtlety, spontaneity, tactility and expressiveness.” Artwork details : FigureISM #01-06 Acrylic on canvas / 4’x5’ (ft) 2021 / Figure Enter
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30 ROGER SAN MIGUEL : SEASONS OF LIFE
“SPEAK YOUR MIND” The Life of an Average By Ingrid Aimee
For years I was that person who needed to know what would happen in the near future. I wasn’t content with being in the moment and letting things unfold naturally because it made me anxious. Knowing, or at least thinking I knew, was a way for me to relax and reassure myself that nothing was going to unexpectedly pop up. The idea of a problem spontaneously arising made me so nervous and anxious that I’d become a doormat instead of speaking up and saying what I really thought. For me, a “problem” was somebody who threatened my peaceful near future and, as a result, I would have to figure out a way to subdue them without disrupting my peace too much. Often, I would have to step outside my comfort zone of being a wallflower and deal with people in a way that wouldn’t cause too much hassle. I suppose you could say I tried to categorize the people around me according to their mood. In short, I tried to control the uncontrollable—human nature. I started to obsess about my friends falling out with me. I’d say goodbye to them and spend an hour afterward worrying that they’d be angry with me and wouldn’t speak to me the next day. It was exhausting and constant; I would convince myself that one friend was okay with me and then I’d start to doubt another friend. I remember one time particularly well because to this day I still laugh at how ridiculous it all was, though at the time it was really stressful. I had this one friend who started to develop an attitude; where she was once reserved and not confrontational, she was now argumentative and volatile. Although I didn’t argue with her, I’d seen her arguing with our other friends and she suddenly seemed really intimidating, definitely not someone I’d want to get on the wrong side of. The fact that she’d sometimes start an argument for no good reason contributed to my fear that she might get angry with me. I did everything to keep the peace, but she was prone to spontaneous moods. I remember looking at her one day and realizing that I didn’t care if she stopped speaking to me; it seemed ridiculous that I’d wasted so much energy on something so silly. When she went off in a mood, I let her go and stayed with our other friends. And the crazy thing is that she came back to me asking what was wrong. Everyone was so used to me being the peacekeeper that when I stopped keeping the peace, they started seeing me as someone who had an opinion instead of the quiet doormat. It’s amazing what happens when you stop overthinking and worrying about how things will turn out. When you speak your mind, you send a message to the people around you that you have a voice and you’re not afraid to use it. Obviously, I can’t speak for everyone, but I respect someone who says what they’re thinking rather than what they think everyone wants them to say—even if I totally disagree with them. Nothing in life is certain, and yet at some point we’ve all tried to desperately cling to something that we’ve wanted to stay the same. Some of us have even compromised our integrity just to hold onto the idea that we’re sure of something. It’s not all smooth sailing when you decide to stop dancing to the beat of someone else’s drum. Just remain calm and deal with those who are disagreeing with you in a mature manner, even if they’re being immature. It’s hard at first, but it pays off when they realize that you don’t have to hide behind shouting to get your point across. Sticking to your guns is like giving yourself a hug; you feel amazing afterward, whatever happens. And one last bonus tip: Make time for yourself. When you take the time to relax and unwind, it can do wonders for your confidence. There is power in being uncertain and allowing life to flow naturally, responding rather than controlling. When you embrace uncertainty, you respond to the present moment rather than following a plan involving everyone else that only you know about.
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Mga Bata sa Kalabaw Oil on Canvas 24 x 18in
Mangyan Oil on Canvas 24 x 30in
Mangyan Mother and Child Acrylic on Canvas 36 x 24in
VIEL SAMANIEGO Born in Bulacan with roots in Bacolod and Cotabato, during his days in High School, Viel, as what he is known to most of his friends, was actively involved in art competitions sponsored by different schools and NGO’s. Through these, he has also won major awards. Viel pursued his passion for the arts and took Commercial Arts at the University of Sto. Tomas (UST) for two years, and later continued his studies at the Far Eastern University (FEU), Fine Arts, major in Advertising and finished in 1993. His college days were a balance mix of studying and mastering of his artistry. During that time, he participated in various art competitions sponsored by schools, organizations and companies such as Metrobank and Shell. After his studies, he ventured into Graphic Design for 15 years in different Ad design firms, NGO’s and Publishing houses. As the years progress, he was also led to take quite a few career paths and honed his skills as an Illustrator, Lay-out Artist and Photographer. Being open to several forms and styles has given him a broader perspective and a deeper appreciation for the arts. This receptive way of thinking allowed him to combine together varying art methods. The medium he uses the most is oil, acrylic and watercolor, but he also loves to explore other mediums such as soft pastel and oil pastel. His way of unboxing himself is by trying different mediums and other materials, which gives him the freedom to express his creativity, challenge himself and innovate. Viel has a keen interest in thick layers of paint, textured, impasto; expressing emotions and themes through colors, lines and shapes; and movements either by representational or non-representational. His subjects and themes varies from children, mother and child, still life, landscapes and those with social relevance. His work speaks about the environment, life and spirituality. Being dormant for almost 20 years in painting and came back in 2016 , now was zealously inspired again to continue his love for the craft, starting to get involved in the arts scene, actively participating in various art groups such as FilArts, FilPAG, PGW, AAN, PhilFAS. He joined in numerous local and international group exhibits such as Singapore, China, Malaysia, Japan, Ecuador; judged in art competitions, conducted art workshops, group exhibits organizer, and other activities associated to his art. He shared his God given talent by teaching, training and supporting indigent children and youth and individuals who have the gift and desire for the arts. 32 VIEL SAMANIEGO
Apart from his creative side, Viel is also a genuine man of faith. He is a full time ordained minister, but remains to be a full-pledged artist at heart.
instruments of praise 1 Acrylic on Canvas Pentaptych 1x2, 1x3, 1x4
Tribo Oil Pastel on Pastel Paper 9 x 14in
instruments of praise 2 Acrylic on Canvas Pentaptych 1 x 2, 1x3, 1x4
Viel Samaniego mobile - 0915-3472893 email: viel6870@gmail.com follow IG: viel samaniego
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How to Apply for Artist Residencies, Grants, and More Creative Opportunities By Kira Simon-Kennedy
Courtesy of Summit AIR in Eden, Utah.
For years, Katrina Neumann, Sebastien Sanz de Santamaria, and Kira Simon-Kennedy have been dedicated to helping artists find opportunities to support their practices. As they launch Rivet, an online search engine for creative opportunities, we share their guide to navigating the application process. This guide was designed to help you tackle the daunting process of applying for artist residencies, grants, fellowships, incubators, awards, labs, prizes, and programs of all kinds that provide time, space, and support for creative people to develop their work. The goal is to provide you with the skills and knowledge to grow and thrive, and most importantly, to help you make the work you’re passionate about.
34 how to apply for artist residencies, grants, and more creative opportunities
1. Do your research The best place to start isn’t a search engine; it’s actually with people who inspire you. Reverse engineer a list of opportunities by going to the website of someone you admire and finding their CV, resume, or bio. What was the first thing they did? If they’re a visual artist, what galleries or spaces showed their work first? If they’re a filmmaker or writer, what festivals featured their work? Then, find their peers, and do the same. Keep going down rabbit holes, tracing the paths of the people you look up to. For a broader search, check out listing sites and opportunity networks. There are too many niche platforms to list, but here’s a spreadsheet to get started. Be warned, many of these platforms can be overwhelming, difficult to search through, and may be infrequently updated (which is why we’re building Rivet!). 2. Make sure you can do it Once you’ve made a list of things you’d like to apply for, and before diving into an application, make sure you’re qualified. Sometimes opportunities are limited to people with certain passports, of a certain age or career stage, languages, or any number of other criteria. If you’re not quite sure if you qualify, it is always best to read the application thoroughly, and then email or call and ask any lingering questions before applying. Then, gauge if this opportunity is feasible for you. Some may require a part-time or full-time commitment that can’t always be balanced with other responsibilities. And unfortunately, not all opportunities are affordable. Some have application or submission fees, participation fees, and many don’t cover living expenses, travel, food, housing, or materials. Sometimes, it’s possible to apply for other funding or find other ways to subsidize costs, but it’s important to take into consideration the additional effort.
Johann Diedrick helps his students build their mobile listening kits at Social Kitchen in Kyoto, Japan.
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3. Make sure it’s worth it Beyond costs, there are plenty of other reasons an opportunity may not be worth it. Some might not provide the kind of support, resources, network, exposure, or space to experiment that you what you need at this particular moment. Some might surround you with too many (or not enough) people or distractions. The best way to learn is by looking up past participants and try to find interviews where they speak about their time at the residency, check reviews on Rate My Artist Residency, or get in touch with them directly. Ask yourself questions like, how would you like to spend your time? What would you need, in terms of equipment, language skills, or project assistance? Would it suit your lifestyle? Think about your level of comfort. Can you rough it? Opportunities vary from farm houses with intermittent electricity to luxury hotels with continental breakfasts. Check a map and use Google Street View to get a sense of the environment. Also consider the social environment. If you’re looking for solitude, find a place that works with less than three people at any given time to avoid constantly turning down invitations to group activities. 4. Don’t miss the deadline When you find the perfect opportunity, set up a calendar reminder a week before the deadline, and another one the day before. Don’t forget that time zones matter! 5. Make sure that your work looks good Does this application ask you to submit a link to your website, a portfolio of images, or your social media profiles? Now is a good time to make updates, take new photographs of your work, and make sure all your online identities are presenting you the way you’d like to be seen.
Courtesy of Crosstown Arts in Memphis, Tennessee.
36 how to apply for artist residencies, grants, and more creative opportunities
6. Read the application closely Before you start filling out answers, read every single question on the application carefully. Copy and paste all the questions into a document that auto-saves (like a Google Doc or an email draft). It’s good to cast a wide net, but if you’re applying to several things at once, make sure you don’t use the exact same application for everything. Tailor each proposal to address the organization’s mission. 7. Be concise, clear, sharp, and interesting Every time you apply, you are asking someone to read what you wrote. Be kind to your readers. They might be looking at hundreds, or thousands of proposals, so go easy on the artspeak and jargon and get right to the point. And remember, you don’t have reach the word limit for every question. Try to convey your ideas with fewer words, avoid repeating yourself, and don’t be vague. 8. Draft, get feedback, revise, review, and then submit! Once your draft feels close to complete, send it to a trusted friend or two to edit. They’ll be able to point out where you can clarify, refine, or re-write to best represent your ideas in a way that will make sense to the strangers who will be reviewing applications. After getting feedback, do one final pass, double check for typos and run-on sentences, then send it in. Your proposal will now be considered by a person or group of people who care deeply and probably started from where you are now. While you wait to hear back, carry on with life as usual, but keep an eye on your inbox and voicemails. 9. Don’t get discouraged by rejection If you receive an acceptance letter, congrats! Plan ahead if that’s your style, research who you’d like to meet, where you’d like to go, and lay out a work plan for your project. You did good, keep at it! If you get a rejection letter (sorry, they suck, they really do), the first thing is to ask if you can know specifically what you could have done better. You can also ask if the decision-makers can recommend other opportunities for you to apply for that might be better suited. And always ask if you should apply again next year. Look closely at who they did select, and run the reverse-engineering search on them. And then keep trying! Often, success begets success — try for small, local grants from young organizations and grow with them. And remember, you can always start your own thing. Collectives can pool resources to support informal residencies and there’s a wide world of opportunities beyond what you can officially apply for! For more information, visit Rivet’s Guide to Applying for Things.
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Alab ng Puso | Cold cast Resin 36 x 48 in | 2019
ARNEL DAVID GARCIA ART IS HEAR I fell in love at a very young age not with a person but for a passion named ART. Strong adoration for art it had been carved in my HEART. Living in a province near moving waters like that of a river, I usually sculpted faces over canvases of pumice stones. I used my father’s screw driver to carve and make different sculptures. I spent most of my childhood with my ranging imagination to create masterpieces that at first I didn’t know that what I am doing was already an example of art. I also got exemplifying grades in art during my elementary years. When I reached college, I was ready to take up Fine Arts but on outstroke of luck, the course wasn’t available for me and due to my parent’s choice I took up accountancy instead. Living with assets, liabilities and equity aren’t enough to make me leave for my love on arts. I cultivated my talent by joining the college publication where I eventually became the arts editor. Fast forward, with the influence of my artist friends, my interest in art was further shaped and nourished. I first ventured in calligraphy then painting, and in 1999, I was exposed to the world of mixed media which I gladly embraced as my main medium where I built morbid yet maverick kind of expressive artistry. I am a SELF THOUGHT ARTIST. 38 ARNEL DAVID GARCIA
Message/ inspirational message to the new artists….. The study of art is an endless process and an adventure at the same time. If you stop learning you stop living, because art is LIFE. Even if you are already in your highest mastery, you still have something to learn; you would be able to have those lessons with the people who paint the world with you. Acquiring a degree or aiming to be rich or gaining millions of rewards doesn’t define you as someone who knows everything because there is always something more to discover. Be patient, be humble , don’t forget the code of ethics and more importantly always be thankful to the creator. Dacal pung Salamat kabalen! Top : We Heal as One | Cold Cast Resin | 12 x 12 x 19 in | 2021 Vice-Governor Choice (5th Tarlac National Art Competition 2021 Left : Pulutan 101 | Cold Cast Resin & Fiber | 18 x 24 in | 2017 Below : Ang Pinagmulan | Acrylic on heavy textured canvas | 36 x 48 in |2021 Bottom (left) : Mga Positibong Nagawa dulot ng Pandemya | Acrylic on heavy textured canvas | 48 x 36 in | 2021 Bottom (right) : TookHang (Tokhang) | Rsein and fiber | 60 x 48 in | 2017
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Treat Yourself With Art Workshops and Retreats By Maria Woodie
Art workshops are predominately being held online as we hunker down during the COVID - 19 pandemic — but that won’t stop us from looking forward to when we can all travel again. Start planning for your next art workshop or retreat now with Artists Network’s new and seriously improved 2021-2022 Workshop Directory (you can search by date, instructor, subject, and medium). You deserve it!
In the fast-paced world we live in, endless errands, innumerable emails, and relentless to-do lists demand our attention. But finding time to break away every now and again to unwind is crucial if we want to keep growing as artists. One way to unwind and renew is through art workshops and retreats. Stepping back from the demands of everyday life can inspire leaps in creativity. And art workshops and retreats help us not only to enhance our artistry but also work on ourselves, too.
Illustration by Camelia Dobrin/Getty Images
Away From It All In Remembrance of Things Past, Marcel Proust’s great tome about the creative life, memory is a key theme. And reflection is presented as a necessity for art. The often deplorable Baron de Charlus wisely castigates the narrator, who is restless to leave. There are experiences missed in always rushing and advantages in taking time, in being present. The narrator is young and won’t heed this advice for many pages and years; but the advice remains, waiting for the stillness that will recognize its value. Artists need time to withdraw from the hustle of life in order to attend to the needs of the creative voice within. That time apart provides the platform for individual ideas that lead to new artistic visions. Art Retreats: Space and Time Art workshops and retreats began to appear at the turn of the 19th century, as if in response to the growing urban centers, the rumble of industry and the increasing pace of life. In 1900, the German poet Rainer Marie Rilke wrote “How large the eyes become here!” upon his arrival at Worpswede, the artists’ colony founded in the German town of that name only a year earlier. That same year, the now-famous artists’ residency Yaddo, in Saratoga Springs, New York, declared its mission to provide “rest and refreshment [for] authors, painters, sculptors, musicians, and other artists both men and women.” These retreats offer a quiet space for artists to do their work without the demands of even so much as cooking a meal. Able to think only about their particular pursuit, artists have the freedom to explore without mundane constraints. 40 Treat Yourself With Art Workshops and Retreats
Black Mountain College offers another model for retreat. Founded in 1933 on the holistic educational principles of John Dewey, which emphasize democracy, the College saw a generation of artists develop there, including Josef and Anni Albers, Willem and Elaine de Kooning, and Cy Twombly. Feeding off one another’s conversations and schemes, few ever wanted to graduate. Their relationships and shared projects inspired works for decades.
The Artists Barn at the merit-based Djerassi Resident Artists Program (California) has studios for visual arts, dance and music composition, plus a darkroom. Photo by Anthony Lindsey
Art Workshops: Change and Exploration Destination art workshops can offer a similar opportunity to work on projects and hear the ideas of other committed artists over meals and drinks. A novel environment allows different perspectives to arise. New friends with similar passions provide support. An instructor helps guide ideas to life. A week or two in Italy or a few days in a nearby community can invigorate creative channels dried by daily toil. A change of air refreshes, while a different altitude or latitude reveals new qualities of light. The chance to get away allows the eyes to widen and review what is possible. For some, a seasonal or annual refuge is necessary. As people meet and connect at art workshops, they form communities and encourage one another. They often insist upon a regular retreat; some groups have reunited for decades. Both the location and the participants protect the artistic spirit against the demands of daily life that make that spirit easy to ignore. Other artists may find they prefer solitude and seek out retreats that foster introspection and quiet reflection.
The Shenandoah Art Destination (Virginia) attracts artists of all skill levels and allows them to work on their own or in groups. Instruction, offered in drawing, painting and printmaking, is individualized to each participant’s needs and goals.
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Artist Solitude: Quiet and Focus The creative voyage, however, need not require a trip. The spirit of retreat is there when we carve time to be alone. Whether in the studio or on a walk, time apart fosters the energy and drive to produce work. To insist upon a period away from the requests of others — from the hassles and strains in the turmoil of tasks and jobs — is a challenge because of the commitment it entails on the artist’s life. Others may not understand, and their responses feel belittling. But the walls of the studio become thicker with time and criticisms less meaningful. The slow and steady work accumulates. Projects grow. Skills develop. Persistence permits us to become present.
Daniel Eduvijes Carrera, media artist at the Djerassi Resident Artist Program (2017). Photo by Paula Bullwinkel
Gift To Oneself The concept of retreat stems both etymologically and spiritually from the need to pull back. No doubt, this is the first and most valuable understanding, but I also like to think of the word as an opportunity to gift oneself again: to re-treat. When the world is a bother, a quiet refuge to make art is better than ice cream. Art workshops and retreats, therefore, can fill a spiritual need while also permitting a personal indulgence, revealing that only through tending to the self can artists produce the work they offer the world. It may be five minutes, five hours, or five days, but only through retreat can someone stop rushing to the next thing and take the personal time necessary to arrive as an artist.
Photo by Getty Images
42 Treat Yourself With Art Workshops and Retreats
Poetry + Art
Written by Abdelilah Jorio September 17, 2021 all copyrights reserved Painting by : Roy Espinosa The Lovers Watercolor on paper 16 x 12in 2021
Extent between several spheres Ponds, gardens and sky Colors in perpetual mutation Long gestation in winter Everything evokes the vitality of the funds Peregrinations between green ponds and royal courts Force of existence and fruitful harmonies It is as if the twirling’s reach infinite skies Symbiosis between entities The visual purity of rudimentary elements and continuous flow Everything lends itself to sparkle and meditation The myths of the rising sun and the waves spreading everywhere It’s as if the world is putting its debris back together Restored its buried sources Visual ecstasy, an abundance of natural aspirations Harmony in the greatest destitution of fertile rice fields Painting koi, touching its fibers To this current of wind allowing finding its own traces everywhere Reconnect with his superhuman world Speak the astonishing language of one’s own fluctuations To be this addict of a whole universe And reconnect with his aquatic memory A smooth world, the slow long levitation of the earth This latent force protecting the being from all temptation A base, group spirit and benevolence of occult presences The koi this dragon fish
Abdelilah Jorio
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The Museum and Gallery of Modern and Contemporary Art
44 THE MUSEUM AND GALLERY OF MODERN AND CONTEMPORARY ART
The Museum and Gallery of Modern and Contemporary Art is dedicated to collecting, preserving, and interpreting developments in the late 19th century to post-World War II art through 1970’s (Modern Art) and 1970’s to the present (Contemporary Art) in all media and creating a welcoming environment for its public appreciation. The Museum will promote understanding and interest in art and artists through art shows and exhibitions, curatorial research and publications, and a variety of educational programs, including lectures, guided tours, and workshops. The Museum is an organic, changing place. Although all the works seen are part of our permanent collection, in order to show the full range of our holdings - over 2,000 objets d’art - and to accommodate important temporary exhibitions, certain works must occasionally be taken off view. Modern Art Modern Art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles and philosophy of the art produced during that era. The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. More recent artistic production is often called contemporary art or postmodern art. Contemporary Art Contemporary Art is the art of today, produced in the second half of the 20th century or in the 21st century. Contemporary artists work in a globally influenced, culturally diverse, and technologically advancing world. Some define contemporary art as art produced within “our lifetime”. Free Admission Come Visit Us by Appointment
Moncada - Alcala - Bayambang National Road (Arboleda Street) San Pedro Ili, Alcala Pangasinan, Philippines
Mon - Fri: 10am - 4pm | Sat, Sun and Holidays: Closed
museumgallery.ph@gmail.com FILIPINO ARTISTS MAGAZINe 45
Lotus 3 Oil on Canvas 36 x 72in 2019 private collection
BENEDICTO “BONG” DUCAT
Born on May 6, 1957 in Tondo, Manila, Benedicto “Bong” Ducat is a Filipino painter noted for his Pointillist style of painting. He credits the late Philippine Women’s University (PWU) Fine Arts program director Ibarra De la Rosa for his influence on this painting technique of using tiny dots of distinct colors to create an illusion of form. Ducat earned his degree in painting at the University of Santo Tomas’ College of Architecture and Fine Arts where he was conferred the prestigious Benavides Civic Award. He later took his master’s at the University of the Philippines in Diliman, Quezon City. At one point Ducat has taught painting at the Technological University of the Philippines and at the Philippine Women’s University and is currently a professor at the University of Santo Tomas College of Fine Arts and Design.
46 BENEDICTO “BONG” DUCAT
Lotus Oil on Canvas 30 x 40in 2019 private collection Lotus 2 30 x 40in Oil on Canvas 2019 Private Collection
Ducat is noted for his depiction of nature, rendering plants, trees, and flowers skillfully executed in his signature droplet-like strokes and in vibrant colors. His lotus flower series for one are not the “prim and proper” usual types we see. Ducat’s interpretation exudes youth; they elicit positive vibes with its spirited shades and hues, and are devoid of boredom. Likewise his Birds of Paradise series is an eye candy so to speak. There is so much life to the artwork one could feel the artist’s energy and state of mind while crafting the oeuvre. In Ducat’s Antipolo landscape series, the artist’s attention to details is evident: the mixture and gradation of colors, the consistency in his brush strokes. The painting squeals of liberation – the wide expanse of the landscape captured vividly by Ducat’s hand alluding peace and tranquility. The strokes are smooth and clean, executed to perfection. And of course, the gabi leaves - the simple life cycle of the humble gabi leaf as it begins to bloom evokes spiritual fascination among its audience. How Ducat is able to play out mysticism in his works is what sets him apart as an artist. Over the years as well as in keeping with the times, Bong Ducat has shifted his focus from pointillist painting to semi-cubist depictions of still life in the path of Modernist art masters like Vicente Manansala.
Trees Oil on Canvas 30 x 40in 2019 private collection Landscape Series Oil on Canvas 48 x 60in 2019 private collection
Left : Birds of paradise Oil on Canvas 2019 36 x 72in Private collection
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MARK SHELLSHEAR
“Cool of the evening.” Late afternoon at sunset in the country enjoying a cool glass of wine. The afternoon light dances and changes as the night slowly comes. Acrylic on canvas.
Find the better way. It is really easy for Artists or anyone to be critical of something that they do not wish to do. If you don’t want to write an artist statement or story tell your paintings, then don’t do it. But please do not criticise those who do. I believe that Artists should always do what is best for them, they are creative people who often do not fit into a pigeon hole and need space to do what they want to do. But do not criticise others who do not wish to agree with you, everyone has the right to blaze their own trail, even if it is different from yours. Artist always strive to find a way to do it better, not find fault, find things to praise and complement. Remember reaping and sowing, it is happening in your life even if you don’t believe in it, what goes comes. Be the one to try and find the better way, encourage others, reach out to others and you will always be welcome. 48 MARK SHELLSHEAR
Poetry + Art
The most surly and mysterious side of women His carnal and bewitching hold on this part of her When his being takes wings and reconnects with his feline background Rage and bliss to love and dominate Wonder at the smallest beginnings of life The breadth of its singular being when it reflects and spreads The breadth of her being to defend with her whole being what she has conceived His power to transform a simple hut into a celestial sphere This aggressiveness to be entrails To rise up and erect heavenly fortresses The burning swirl of what is aerial, the words The woman coiled in a wolf marking infinité périmètres for her family Oceans of scents and original colors guiding them everywhere Accompanying them beyond the end To reproduce what she has inside her that is carnal and wavy Lustful love and rage to live Breaking waves and waves that no word would translate To love and appropriate, tender and surly dilemma Written by Abdelilah Jorio September 17, 2021 all copyrights reserved Painting by Pauline Allison F. Espinosa
Abdelilah Jorio FILIPINO ARTISTS MAGAZINe 49
50 ROLAND ROSACAY
ROLAND ROSACAY Roland Rosacay’s affinity to the symbolic is implicitly manifested in his oeuvre. Born in Angat, Bulacan province in the Philippines in 1964, he was acquainted with the wondrous sceneries of mountainous landscape nestling the Angat River. From afar can be seen the majestic Sierra Madre mountain ranges which is the main water source for the river. Surrounded by such wonders of nature, it was natural for Rosacay to internally assimilate the sights, adapt it as underlying theme, and stylistically translate it onto canvas. His artworks are grounded on the reductionist concept wherein figuration is abbreviated to its simplified geometric forms. An example is his fish paintings. There is a contemplative dimension as stylized school of fishes enclosed within a spherical void is depicted in a repetitive pattern. Undulating translucent lines representing surges of water waves perpetuate the illusion of swimming motion, while the vibrancy of neon-hued colors further enliven the whole composition. The iconography of abstracted fish is deduced from the Eastern Oriental convention and symbolizes positive energy, good fortune, abundance, and wealth. Their multi-patterned depiction together with the linear waves implies unity and infinity unbounded by time. It also showcases his printmaking background as the hard-edged forms seemed incised. A Zen-like quality can be ascertained from his recent minimalist creation. Situated on a grayish white backdrop, the delineated circular outlines of varying dimensions, horizontal line, and vertically dripped pigment dominate the picture plane. He limited the use of colors for spatial interiors to monochrome gray and earthly hue to further emphasize the purity of form, only using red and blue to define the circumference. He again refers back to infinity and perpetual motion in his use of circular configurations, while the accents of horizontal line and vertical drips serve as symbol of flowing water emblematic of his artworks. Rosacay took up Art Studies at the Philippine Women’s University in Manila and is a member of the Philippine Association of Printmakers. He is trained in printmaking and sculptures aside from painting. His works appeared in the “400 Years Limbag Kamay” Cultural Center of the Philippines publication. He had seventeen major solo art exhibitions from 1990 to 2018 held in Manila City, Quezon City, Makati City, Antipolo City, Boac in Marinduque, Angeles City, Baguio City, and Tanay in Rizal, Philippines. He also is an active participant in art group exhibitions organized by notable cultural institutions in the country such as Cultural Center of the Philippines, National Museum of the Philippines, Ayala Museum, University of the Philippine Vargas Museum, University of Santo Tomas and De La Salle University Art Galleries, Cervantes Instituto and Spanish Embassy in the Philippines, and the Philippine government agencies’ art galleries. Top (Left to Right) : Cosmic Circle series 3 Collage on handmade paper 16 x 22in 1996 Cosmic Circle series Collage on handmade paper 16 x 22in 1996 Cosmic Circle Collage on handmade paper 16 x 22in 1996 Middle (Left to Right) : untitled #9 Collage on handmade paper 8.5 x 11.5 2007 untitled #8 Collage on handmade paper 8.5 x 11.5 2007 Bottom (Left to Right) : untitled #6 Collage on handmade paper 8.5 x 11.5 2007 untitled #5 Collage on handmade paper 8.5 x 11.5 2007 untitled #7 Collage on handmade paper 8.5 x 11.5 2007
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Inspiring Artist Studio Solutions By Artists Network Staff
Get creative in the quest for studio space This month the Artists Network team is focusing on ways to organize your art life from creating the ideal artist studio setup, and streamlining your art-making processes, to getting the business side of your art in order. We all know finding the perfect artist studio is the holy grail and its something many artists struggle to achieve. This great Artists Magazine excerpt by Samantha Sanders is a wonderful reminder that as artists we can apply our creative problem-solving skills to everything we do, including finding unique places to make art.
Photo courtesy of Getty Images.
A Space to Call One’s Own For many artists, dedicated studio space is a luxury. Making the best of things, they eke out space in a spare bedroom or a corner of the garage. However, there are also artists for whom necessity has proved mother to some pretty extraordinary inventions. Overcoming restrictions of time, resources and budget, meet three artists that have found unique ways to radically reimagine the space they use to create.
52 INSPIRING ARTIST STUDIO SOLUTIONS
Carrie Schmitt’s Studio on Wheels “My process is that I paint from the heart, which means I do whatever feels good,” says Carrie Schmitt. It comes as little surprise, then, to learn that a traditional artist studio space is unappealing to Schmitt—not to mention outside of her budget. “I live in an expensive part of the world, and I couldn’t find affordable studio space,” says Schmitt, referring to her Seattle home. But when she gets desperate, she gets most creative, she claims. Inspiration entered in the form of a Craigslist ad selling a small school bus that an antiques dealer was unloading. Carrie immediately saw the possibilities.
Schmitt’s studio on wheels, Rosie the Art Bus.
Carrie Schmitt enjoys having a non-traditional studio.
Art On the Go A mobile artist studio space meant she could not only create her art anywhere but would also have a chance to connect with a wider community—particularly with young, would-be artists who might not otherwise meet a working artist. She knew the challenges. As a single mother, her budget was limited, and she didn’t know how to do the repairs the bus needed. Thanks to some strategic budget-crunching, she was eventually able to hire a builder to complete the work.
Schmitt sets up her easel at the back end of the bus, which has windows on three sides, plus ceiling lights.
“We tore everything out,” she says. “We put in new floors, cabinetry and a sink. There’s a couch that converts to a table with space to paint and even air conditioning.” There were also plans to build a roof deck where Schmitt could paint outside so that people can watch. “I want kids to see me and know that artists are real. We exist!” she says. FILIPINO ARTISTS MAGAZINe 53
The couch converts to a table, for more work space in the bus interior.
But there’s a practical streak that runs through this artist, too. “I told my dad I could always live in the bus if I had to,” she says, “but he told me, ‘Aim higher, Carrie.’ Someday, though, when my kids are grown up, I might! To me, it’s a great symbol of my freedom.”
Emilie Lee’s Plein Air Artist Studio A few years ago Emilie Lee was teaching at a Vermont college and feeling frustrated by a demanding schedule that left little time for art. A pricey apartment lease didn’t ease her mind, and besides, this figure-and-landscape artist’s true home is on the road. “I couldn’t afford my rent, and I was Airbnb-ing my apartment and sleeping in my car a lot. I figured I might as well live in my car and just not pay rent and see if I could paint more.”
Emilie Lee embraces a nomadic lifestyle in her travels to plein air sites.
Painting and Road-Tripping That fleeting thought manifested into a cross-country journey that lasted two months as Lee made her way west. She alternated staying at friends’ homes with camping out and, along the way, painted some of her most beloved landscapes. “I just kicked into my momentum,” she says. “I made more than 50 paintings!” Where did she stash them while she and her dog, Honey, were on the road? “I sold them on Instagram along the way,” she says. “I made about $6,000 and had almost no expenses aside from gas and groceries.” 54 INSPIRING ARTIST STUDIO SOLUTIONS
Working out of her van enables Lee to travel farther on a small budget and to remain on one site for several days.
Although Lee has since settled in California, don’t think she’s left the influence of her life-changing road trip behind her. “I arrived in California feeling really empowered,” she says. “My strategy has been to keep overhead low, so I can really focus on painting and be productive.” Inspiration Off the Grid Lee now plans regular trips, sometimes traveling to a specific location to paint a commission and other times simply setting out to satisfy her creative urge. “Last week I went to Northern California and didn’t even answer my phone,” she says. “I hiked about 45 minutes into this ravine with a hot thermos of tea and a dog bed for Honey, and I got to spend six hours down there working on two paintings. I came back super inspired to get back in the studio and even got some commissions from it.”
Lee’s van stocked with art materials and equipment doubles as a sleeping space.
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While painting on the road might sound romantic, Lee offers a few practical tips for when reality interrupts the daydream. “Invest in a high-quality tripod. It’s worth it; I’ve broken a lot of them. And I like to bring my creature comforts with me—my cooler of food, coffee.” Lee suggests a few additional essentials: a good backpack with a hip belt to get weight off your shoulders, bug spray, sunscreen, a hat and clothing you can wear in layers. “I always emphasize when I’m teaching that if you’re not comfortable, you’re not going to be able to focus,” she says. “A lot of times I end up picking the spot to paint because it looks most comfortable, like it has shade or a place to sit or even just level ground so I’m not standing in an awkward position for five hours.”
Miranda Aisling Gets Small to Be Creative For abstract oil painter Miranda Aisling, the dream of a dedicated artist studio space began “unromantically,” as she describes it. “It was an economic decision,” she says. “I was working at a nonprofit arts center. I’d just finished my master’s degree and was looking at my debt, my savings and the amount I was spending on rent, and I realized that in the tiny-house world, you could spend about $30,000 and have a place to live full-time. I’d spent nearly $16,000 on housing in just two years of grad school, so initially I was just trying to find a financially responsible way to live that would also enable me to pursue art in the way I wanted.”
Miranda Aisling’s tiny house is now stationary, but it can be moved, like a trailor.
Tiny houses are having a cultural moment, but Aisling emphasizes that dealing with one isn’t always as easy as it might look on home- improvement shows. The first hurdle is finding a place to put it. “My tiny house is in a friend’s backyard, about 45 minutes outside of the city, so one of the choices I had to make was to become a commuter.” Zoning laws can be a problem. “Tiny houses do best in places where they don’t draw a lot of attention,” Aisling says.
56 INSPIRING ARTIST STUDIO SOLUTIONS
A Collaborative Effort Although her house, which she dubbed “Aubergine” for its striking purple paint job, is in a secluded location now, it had a much showier beginning. “It was built on the front yard of an arts center in Concord, Massachusetts, so it was very public,” says Aisling. “It was there for an entire year for its construction.” Aisling, the project manager, received help from more than 50 people who ranged from professional carpenters to individuals with no building experience.
With a small kitchen and bathroom, electricity, heat and a renewable source of water, Aisling’s basic needs are met, leaving her free to paint in her home.
Sitting in her home brings reminders of those helpers and other contributors. “I can look around me and see the stories of 100 people within 160 square feet,” she says. “My mother’s hands are all over this house. I had friends who donated the artwork. It engenders a level of respect for my home and respect for myself within that home—and creates a sense of responsibility.” Uninterrupted Creativity When asked about the philosophy behind her decision, Aisling instead emphasizes the practical. “People write all the time about creativity coming out of a sense of boredom. Living in a small space where I don’t have internet, I don’t have TV, and when I first moved in, I didn’t even have electricity, forced me to slow down. I think slowing down is one of the best things you can do to be creative.” Samantha Sanders is a former staffer with Artists Network and writer whose work has appeared in Artists Magazine, Catapult and The Awl. Photos of Schmitt and studio/bus by Michael Sladek Photography.
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(A rewrite and repost of a 2011 blog)
THE RIGHT OF AN ARTIST TO CHOOSE HIS OWN SUBJECT MATTER By Arnaldo B. Mirasol
I had an online tiff with Kirsten Anderberg, who describes herself as a feminist, historian, human rights activist, musician, and writer. That was in 2011. When I checked her profile info, I realized that she is also a 1997 graduate of the Whittier Law School. So, she must be a full-pledged lawyer by now. Awesome credentials indeed, anyway you look at it. And I, who can only “boast” of a high school and CMT diplomas am definitely in awe. Our discussion revolved mainly about the paintings I did of nude female models featured in the girlie magazines I kept at home. Kirsten wondered why I was doing only female nudes. She asked me to add male nude paintings to my repertoire, to which I answered that it’s a big no-no for me, because naked male bodies disgust me. Apparently, she overlooked , the “hahaha...” I end my answer with to indicate that I’m just being facetious. She assailed my saying that, because she must have thought my disgust real. She quickly presumed that I was homophobic, which word she, who claimed to be a writer, thought meant hater of males. Homophobic actually meant a person who dislikes or is prejudiced against homosexuals. She next told me that she can’t quite believed that I see nothing beautiful in Michelangelo’s naked male sculptures. Well, which artist won’t be entranced by them. In fact, when I was still in art school, Michelangelo’s paintings of powerful males were the first art works I tried to emulate. I was so enthralled by Michelangelo that I bought two books that featured his art. But Kirsten should understand that when an artist admires male nude artworks, it doesn’t follow that that artist will be inspired to also create male nude artworks. Not wanting to paint naked male bodies doesn’t imply hating them, or the male specie in general. Kirsten insistence on their being one and the same is stupid logic. My fascination with Michelangelo’s paintings of naked males is over, and I’m now pouring my efforts in painting, not only female nudes, but also picture book illustrations and other paintings depicting a variety of subject matter. Her supposedly observant eye then focused on a female nude painting I did, that of Marilyn Monroe in high heels---”Maria Lina Desnuda”. She remarked that Marilyn shouldn’t be so glamorized because she led a sad life. She may have achieved fame and fortune, but she in truth felt exploited. That’s why she succumbed to the lure of drugs and was so depressed that she eventually committed suicide. How true and how sad.
58 THE RIGHT OF AN ARTIST TO CHOOSE HIS OWN SUBJECT
But what Kirsten said next floored me. Here, unedited, are her exact words: “ I ask you paint a few of her DEPRESSED, LONELY, DRUNK ALONE DESPERATE let’s paint REAL portraits of who she was for once! Paint THOSE pictures, not this trite predictable made up crap of a “fairy tale” of what women never should want to be unless they want to be MISERABLE AND DIE YOUNG.” What temerity! Who does she think she is? She has no right whatsoever to dictate to me what I should paint next. It’s none of her business if I want to paint a thousand portraits of a glamorized Marilyn Monroe oozing with sex appeal and joy. Kirsten’s opinion on my art doesn’t count. She may affixed to her name all those highfalutin titles, but still, I won’t consider her “art criticism” valid and relevant because I can see at a glance that her knowledge about art is sparse and threadbare. The only opinions about art I highly esteem and put a high premium on are those of my peers---my fellow artists; those of the art critics, art dealers, art collectors; and most especially those of my family and friends, because I know that they always mean well even if they negatively criticized my artworks. If she wanted more male nudes painted, I, a male painter, shouldn’t be the one she should pester. She should ask the female and gay painters she knows to do it for her. Maybe, she should also request the best painter nowadays of pin-up style female nudes, Olivia de Berardinis, to cease painting those naked women in porn poses and stiletto heels and instead start painting male nudes from now on. And Kirsten should also stop lumping us painters of female nudes with pornographers. Nude female art is not pornography. The original pornographers are all there in the US. It would be best perhaps if she send Hugh Hefner, Bob Guccione and the other porn moguls there a facebook message each sometime. They might appreciate it and may add her perhaps to their list of friends. They’d be thrilled I supposed having a feminist as friend.
Art by Olivia de Berardinis
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through 3rd Biennial Art Festival in Alcala, Pangasinan
The Museum and Gallery of Modern and Contemporary Art Moncada-Alcala-Bayambang National Road (Arboleda Street) San Pedro Ili, Alcala, Pangasinan Philippines email: museumgallery.ph@gmail.com website: museumgalleryph.wixsite.com/mgmca