South East Asian Artists Magazine

ISSN 2719-0064

Vol. 1 issue No. 1 P 250

Southeast Asian A R T I S T S

M A G A Z I N E

Arts Culture Events

"The Perfect Image of Our Imperfect Selves” How to Approach an Art Gallery It’s OK to say IT.

CAÑAISM of Franklin Caña Valencia

Ma ide n Is

sue

In this issue

10 6 How to Approach an Art Gallery

By Marion Boddy-Evans Updated January 06, 2019

"The Perfect Image of Our Imperfect Selves"

South East Asian 2 Artists Magazine

30 Our cover

CAÑAISM of Franklin Caña Valencia

By Arnaldo Bernabe Mirasol

Southeast Asian A R T I S T S

M A G A Z I N E

Arts Culture Events Published Quarterly

Ruth Chua Editor-in-Chief

Filarts Inc. Publisher

Roy Espinosa Creative Director

Ingrid Aimee Mark Shellshear Arnaldo Mirasol Hati Sti Prameswari

41 56 The Magical of Borobudur

Syis Paindow at his 50th Birthday

S'Kaki Art Residency + Art Gallery

Writer / Contributor

Jun Taniang Rafael Gozum Photographers

Editorial and Satellite Business Office: Blk 4 Lot 13 Gemini St. Cruzville Subd.

Quezon City 1124 Email: filartspublishing@gmail.com / filartsincorporated@gmail.com

57 It’s OK to say IT.

Mark Shellshear 0947.647.34.65 markshellshear@gmail.com galeriadelasislas@gmail.com

South East Asian 3 Artists Magazine

FROM THE EDITOR When FILARTS was first conceived way back in 2015, the idea was to serve as a platform for Philippine arts and culture and to give exposure to Filipino artists, thus the birth of Filipino Artists Magazine.

Soon, through FILARTS' initiative, art shows and exhibits were staged which featured not only the masters but also talented up and coming Filipino artists. Invitations to participate in local and international art shows and exhibits came one after another that brought Philippine arts to a wider audience.

Through these shows, international ties with foreign counterparts especially with fellow asian artists were established resulting in several artistic collaborations between participating countries.

And it wouldn't be a surprise now if FILARTS comes up with a new project that would cater and focus on the international art scene.

That said, I am thrilled with the launch of the South East Asian Artists Magazine. Get a glimpse of known visual artists and their works from Malaysia, Indonesia, Singapore, Vietnam, and of course the Philippines , to name a few.

I hope you enjoy the read as much as we did conceptualizing this maiden issue.

Mabuhay !

Ruth Chua Editor in Chief South East Asian 4 Artists Magazine

SPECTER Galleries Founded by Mike Piepers earlier in 2019 with the mission to collect,curate and exhibit extraordinary other worldly art.Specter Galleries is a multifaceted, international art platform with a strong focus on online and offline,contemporary art.

Specter is organizing exceptional, carefully curates contemporary art exhibitions all around the globe and is responsible for the representation and management of international artists from Singapore,to Indonesia,to Hong Kong.Besides the galleries,the company is also functioning as an art advisory platform;assisting clients in curating the most remarkable collections,whether private or commercial.

The first two exhibitions are scheduled to take place in spring 2020, in both Berlin and Amsterdam; two purist art capitals.

Get in touch with Specter Galleries to schedule an appointment, whether you are an artist,curator,art collector or when interested in discussing sponsor or partnerships.

Visit and follow our social media channels for the latest updates.

www. spectergalleries. com ￨ Šspectergalleries ￨ specter. berlin@gmail. com

South East Asian 5 Artists Magazine

"The Perfect Image of Our Imperfect Selves" There is a time in every man's day when his Facebook feed spits out a photo of a friend who has turned a smartphone camera on him or herself.

There is the practiced tilt of the head, to avoid additional chins. There is the infinity pool or new car in the background, to record momentary privilege. There is the casually flexed triceps or the artfully arranged cleavage to establish oneself as fit, desirable, deserving of exhibition in the carousel museum of social media.

The "Stuck in Traffic" Selfie (Good thing I have a cell-fie.)

The "Pet" Selfie (If you want to post a picture of your pet, post a picture of your pet.)

The "Just Woke Up" Selfie (Yeah right, you just woke up)

Selfie is the act of holding one's up at arm's length to snap a picture of oneself, usually doing absolutely nothing, and sharing it on social media. It's easy: Flip the view on your phone and hold it at a high angle, making your eyes look bigger and your cheekbones more defined.

Position your thumb over the button, turn to your best side, and click! Oxford Dictionary named it as word of the year in 2013. There's more than 62 million #selfies in Instagram alone and still counting, indicating that "the selfie" trend is not waning anytime soon.

The "Car a.k.a The Seatbelt" Selfie (You literally got in the car and thought, "I look so good today, I better let everyone know before I put this thing on drive.) **If you can combine the Seatbelt Selfie with the beloved Shirtless Selfie like this dude, then you-are-gold.)

Until I started writing this today, I had no idea just how many types of selfies there actually were: The "Gym" Selfie (Because the muscles isn't enough.)

South East Asian 6 Artists Magazine

Or even worse, the "Pretending to be Asleep" Selfie (We know you're not asleep. You took the damn picture.)

The "Hospital" Selfie (The more tubes you have hooked up to you, the better.)

The "I Just had my New Haircut/style/color" Selfie

The "Flirty" Selfie (Lie down and pose like your advertising for sex. You have to show your cleavage of course.

Another version is wrapped yourself in a towel pretending you just got out of the shower, then again, show some cleavage.)

The "I Have Enough Money" Selfie (I can buy you.)

But let's be real: The most common selfie is the one where you look cute, partially because it's a quick way to get positive comments about your appearance. Sure, showing off new outfit or that you're at a cool event is fun, but it can be a slippery slope. Psychologists say there's a danger that your self-esteem may start to be tied to the "Comment" and "Likes" you get when you post a selfie and they aren't based on who you are - they are based on what you look like. Selfies trigger perceptions of self-indulgence, or attention-seeking social dependence that raises damned-ifyou-do and damned-if-you-don't spectre of either narcissism or very low selfesteem.

Overall, opinions vary on whether selfie culture is lame or legit, which means it's up to you to shape the future of the habit. The photographer will become the camera.

We will become both subject and object....and that will change the nature of "the self" forever. So next time you take a selfie, look deep into your lens. Do not look at the image of yourself on the screen as you snap the photo. Your eyes will be looking at the wrong direction. Instead, look into the lens itself, into the other soul who will soon be looking back at you and discover that your reflection is in fact a projection of your future self.

The Duck Face ( Do I need to say more?)

Everything you share on social media "reveals something about you" and you can control it. Peace out.

South East Asian 7 Artists Magazine

Leonardo "Yeye" Babatuan

Leonardo "Yeye" Babatuan, born and raised in Bulacan made his way through college by doing what he loves the most - Painting. Together with his father Romeo, Yeye did commission artworks for Ms. Kuh Ledesma while taking up Fine Arts Major in Advertising at the University of the East. Soon after, he was doing bigger projects, working on commission artworks for well-known personalities and organizations.

Yeye got his biggest break when Ms. Doris Dy, head interior designer of Ms. Camille Villar for the Villar Group of Companies took him in as its resident artist. Yeye did murals for Coffee Project, and all the other companies of the Villars. Being accustomed to mural painting, Yeye's preferred style is realism : chinois, tropical, and landscape painting are but some of the subjects of his artworks.

Yeye's long list of clientele looks like a who's who in the society and Philippine business - Aboitiz, Solaire, Coron Hotel, SMDC, Bea Zobel, Ivy and Cynthia Almario, and of course the Villar group of companies.

His most recent project was a mural at Vista Cinema NoMo in Cavite.

Yeye has taken a short break from his commission artworks to stage his first and very much due One Man Show entitled "Unang Hakbang" at the Art Asia in Megamall on March 17, 2020.

7

Coffee 1 Acrylic on Canvas 24in x 18in

Caimito Acrylic on Canvas 24in x 18in

Bayabas Acrylic on Canvas 24in x 18in

Coffee 2 Acrylic on Canvas 24in x 18in

South East Asian 9 Artists Magazine

How to Approach an

Art Gallery with Your Paintings Before You Ask for Representation, Learn the Ins and Outs of Galleries

By Marion Boddy-Evans Updated January 06, 2019

You’ve reached the stage in your development as an artist where you have a body of work, are thinking seriously about selling your paintings, and see the next step as showing in an art gallery. Where do you begin if you want to be represented in an art gallery?

First of all, it's important to know what's involved when working with a gallery and how to approach them with your work. It takes a little encouragement, but once you understand the process and get up the nerve, you'll have no problems. Of course, every art gallery is going to be a little different and many have their own policies in place, but they all work in the same general way.

South East Asian 10 Artists Magazine

Commission or Outright Sale There are two ways that you can sell work through a gallery. The art can either be sold on a commission basis or the gallery can choose to buy the artwork up front. The majority of galleryartist agreements work on commission.

Commission sales mean that your artwork is displayed in the gallery for a certain period of time. Neither you nor the gallery makes any money until the artwork sells. At this point, the two parties split the sale according to the commission split agreed upon in the gallery contract.

The Average Commission Typically, art galleries ask for between 30 and 40 percent of a sale. Some may be higher and some lower, it just depends on the individual gallery and the local art market.

Artists can have a hard time grasping the fact that galleries do need to make money as well. It can be painful to see 40 percent of a sale for your work go to someone else, but you have to remember that they have expenses too. Galleries need to pay the utilities, rent, and employee expenses along with taxes and marketing to get your work seen. They are marketing for you and if they do a good job at it, both of you benefit.

owners know the reality of the local art market thanks to years of experience.

certain number of new pieces over a certain period of time. Other galleries are more relaxed and will base the amount of work they want on space available or some other factors.

As an artist, you should remain aware that some people will want to take advantage of you. Remain vigilant, don't agree to anything if you're uncomfortable without seeking outside advice first, and watch out for shifty gallery owners. There are great gallery owners and not-so-great gallery owners. Your job is to weed out the bad ones.

It is best to have a nice selection of artwork available when you approach a gallery. This allows the owner to choose the best pieces for their customer base and gives you more sales opportunities.

One or two pieces - unless they're significantly sized - is not likely to cut it.

Will My Work Sell?

How Do I Approach a Gallery?

There is never a guarantee that your artwork will sell in a gallery, plain and simple. A lot of it depends on the customers the gallery attracts, the amount of marketing they do, and how much people like your work and want to take it home.

When you are ready to approach a gallery, there are a few ways that you can go about it. You may not be comfortable with asking for representation, but don't be shy. Gallery owners are always seeking new artists and work to display. The worse they can say is 'no' and, as the old adage goes, you will not know until you ask.

There are two common ways to approach a gallery: either go in cold and in person, with some photos of your paintings or phone beforehand to set up an appointment.

Another option would be to send an email asking to set up an appointment.

Attach a few small photos of your work or include a link to your website (though this relies on your email being enticing enough for the person to click through to your website).

Many artists find that the 'old-fashioned' way of showing up at the gallery is the best method. This allows you to get to know the gallery and its owner or manager and it gives you a chance to charm them with yourself and your work.

If you have original, creative, and wellexecuted artwork to show them, it's very likely that they will take the time to look.

Who Determines the Price?

Again, every gallery is different, but in general, gallery owners work with artists to reach a retail price that both of you are comfortable with. You can often tell them what you would like to receive after commission and they will have opinions of what the work is worth on the art market.

This can be one of the most uncomfortable conversations to have.

Pricing is rarely an artist's strong suit and it can be a touchy subject. Yet, you also have to realize that most gallery

Some artists sell very well in gallery situations. They have taken the time to choose the best galleries for their particular style of work, priced their work appropriately, and offer a final presentation (e.g. framing) that customers love. Other artists do not do so well in the gallery environment and may find that the personal interaction of art fairs is a better market for their work.

How Much Work?

Some galleries have restrictions on artists they contract with and require a South East Asian 11 Artists Magazine

Do not show up on weekends or evenings. Instead, choose a time that is less busy for the business like a weekday afternoon.

Do not take original pieces of work. It may be nice to have one or two small pieces in the car, but it looks bad if you walk through the door with a canvas.

Instead, bring a printed portfolio or a few copies of your work.

Look the 'part' of an artist. Appearances and first impressions make a big difference in the art world and you're actually selling yourself as much as your art. Dress nice but be your wacky

artist self at the same time.

It may be best to call and ask for an appointment with bigger galleries. The decision maker may not always be around and it's sometimes best to not assume that they have the time to talk to a prospective artist.

It's also not a bad idea to scout the gallery before asking for representation. This is as simple as walking in and checking out the work on display. Better yet, attend an artist reception and mingle with the crowd and owner. This will give you a good feel for the gallery's clientele and if the work they sell is in line with the work you do. A landscape painting will not work in a gallery that focuses on abstract work.

What You Should Know About Gallery Contracts Galleries make agreements with artists to protect both parties and to ensure that everyone knows what's expected of them.

Some big galleries have very formal contracts and smaller gift shop-like galleries may be more casual. Either way, it's important that you understand everything in the agreement before signing it.

Here are some of the questions you should have answers to: How long is the work expected to be on display?

When do you have to pick up the art?

Will your art be displayed 'permanently' or in a temporary exhibit?

Who is liable for damages while the artwork is on display?

What is the gallery's commission?

How long will it take for you to get paid after a sale?

What happens to ? any unsold artwork?

Will the gallery offer sales? If so, do you split the discount?

While showing at the gallery, can you display work for sale at other galleries or is your contract exclusive?

What happens if a customer wants to commission an original piece from you?

How will the gallery market you?

What is expected of you for marketing?

Do you receive a regular inventory report? (Never leave the gallery without a list of work you left and the retail/postcommission prices.)

If the contract seems too complicated, have someone you trust or your lawyer look over it before signing. Be sure to read everything carefully as some of the fine print can make a world of difference in your gallery experience.

Keep Track of Your Art What happens if the gallery goes out of business? How will you know and what will happen to your artwork? The art gallery business is a very fickle thing and even the most established galleries can close up at any time.

Sadly, sometimes they will simply leave your work for someone else to deal with. It's a shady practice but it does happen. It's very important for every artist to know where their artwork is and to keep in contact with the gallery just in case.

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Aldwin

Maningas The shore has always been his home and after a lifetime exploring the shore as a child, Aldwin Maningas has finally find peace at Binuangan, the coastal area in Obando, Bulacan. Inspired by a lifetime love of the nature, his artworks are an exploration of the beauty and magnificent species of birds. It is not hard to feel the same deep respect and awe of the nature that Aldwin Maningas does when you look at his paintings. The texture and movement of the colors on canvas recreate the astonishment of the nature. Aldwin identifies as a Trompe L'oeil artist, he use Trompe L'oeil technique to capture the fluidity of nature. With a unique and vibrant energy, he describes his creative process as an unleashing of his creativity.

South East Asian 13 Artists Magazine

South East Asian 14 Artists Magazine

South East Asian 15 Artists Magazine

Previous Shows

NUVE Heritage Hotel Art Space One of the world's busiest business and tourist capitals, Singapore, has long been the art aficionado's paradise. With such vast wealth of public galleries, creative events, and white spaces, no selection of the top contemporary art galleries can be comprehensive. Aside from betterknown exhibition spaces such as Gillman Barracks, ION and Ode to Art, some strategically located art space such as NUVE Heritage CafĂŠ Art Gallery are well worth a visit.

This humble art space is one to watch. It places you within a 10minute stroll of popular attractions such as Bugis Street Shopping District and Raffles City. This 19room, 4-star hotel has conveniences like a restaurant, a bar/lounge, free in-room WiFi and a wall space dedicated for visual art.

NUVE Heritage art space has become the hub of burgeoning artistic life for established and promising young artists. With only 2 set of spacious walls with high ceiling, the exhibition space is undeniably compact – but each show is allowed to breathe, with a surprising fluidity

between the rooms and space to wander with the knowledge to communicate with the nature of the displayed artworks. Although the gallery platform is dominated by twodimensional art forms, it champions contemporary artists with widereaching horizons, including sculptures. For those who enjoy art that tells a story, while staying at a cosy room, enjoying pastry and black coffee, this space exhibitions are unlikely to disappoint.

By Abu Jalal Sarimon, abjartstudio@sg Art Organiser, NUVE Heritage Hotel Art Space 13 Purvis Street, Singapore 188592 Email : abjsarimon@yahoo.com.sg Phone : +6596647914 Webiste : contact@hotelnuveheritage.com

South East Asian 16 Artists Magazine

Imago Mundi 3 Nations Art Exhibition Singapore, Malaysia, Indonesia December 2017

Imago Mundi 3 Nations Art Exhibition Singapore, Malaysia, Indonesia, December 2017 Phptography with Head of Imago Mundi Team Abu Jalal Sarimon (Singapore) Antonius Kho (Indonesia) A Zaki Hadri (Malaysia) Posing with their countries' book published & printed in Italy

My Place Your Place Solo Art Exhibition by Allen Sanchez, young Philippine artist February 2020

My Place Your Place Solo Art Exhibition by Allen Sanchez, young Philippine artist Art dialogue with Mr Choi, Ex Senior Curator for Singapore Gallery & active art writer February 2020

Enchanted Odyssey 3 Nations Art Exhibition, Singapore, Philippines, Indonesia Photography of artists, Cipto Purnomo, Syis Paindow, Abu Jalal and Niluh Sudarti June 2019

Enchanted Odyssey 3 Nations Art Exhibition, Singapore, Philippines, Indonesia Art dialogue with artists, Roy, Migz, Abu Jalal and Art Buyer Mr Damien June 2019

South East Asian 17 Artists Magazine

Chia Chor Hua

I

s a fulltime visual artist born in Singapore. He became a fulltime artist after his retirement in 2017 from Civil Service working as Senior Technical Officer (STO). He developed his interest in art when he was a child and started to paint seriously in 1997 and most of his artworks were influenced and inspired by the experience and knowledge gained from many years of living in the kampong (village) during his childhood and teenage years.

Over the years he has developed a very unique technique thru bold and long brush strokes and matching colours to emphasize its interconnectivity, values and perspectives. The themes and topics of his art pieces are usually associated with traditions, beliefs and daily activities. Progressively he has admirers who attend to his exhibitions and collect his artworks. He has successfully exhibited his artworks in Singapore, Indonesia, USA, China, and in the Philippines.

He hopes his artworks will inspire and encourage people to be focused in chasing after their dreams. He also believes that art can bring unity, happiness, joy, selfconfidence and harmony regardless of its outcome, look and presentation. Art can be explored and better understood with open mind and perception. Art is universal with unending journey to pursue for beauty, desired perfection and outcome.

Local and International Awards: 2017: Top 5 artist online competition (artist.com.sg) 2019: International Prize Artist of the Year 2019 (Mantua, Italy) 2019: International Prize Michelangelo (Rome, Italy) 2019: The Best Modern and Contemporary Artists (Rome, Italy) 2019: Art Museum Selection (Rome, Italy)

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&

International Magazine Awards Feature

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ANGELIE Maranan Banaag Born on January 14, 1991, in Laoag City Ilocos Norte. Banaag started to make her art when she was 13 years old and attended workshop under Bel Arte School of Fine Arts in 2004. With pure passion in arts running in her veins, she continue to hone her talent in painting and had her first solo exhibit in 2015 entitled " El Amor De Senyora" at La Tabacalera Lifestyle Center, Laoag City.

Her second exhibit entitled "Libnos" was at Cafe France, Red Planet Hotel in Ortigas, Pasig City last 2017. She is a full time painter and established her own painting studio "Artistixe" last 2016. Banaag is one of the two Filipino artists featured by Mozzaico. Her art piece "Self love" is now a tiled mosaic which can be seen at Mozzaico Showroom in Libis. She was featured in several leading news papers such as The Philippine Star, Manila Bulletin, Tribune, Philippine Panorama last 2018.

Angelie says an artist is not paid for her labor but for his vision. The amazing about being an artist is the ability and the gift of being able to share to the world our vision. I cannot express how grateful i am to be a painter that is why i always find time to conduct and facilitate painting workshops for young children and to anyone who wishes to learn how to paint. I want to inspire them as i was also inspired by mentors. What makes Angelie's work more interesting is that she developed her own signature in her paintings. Which is centered on women and beautiful patterns and prints. She affiliated with several groups in art scene.

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Title: Sorella Medium: Acrylic on canvas Size: 30x40 cm Year: 2020

Title: Self Love Medium: Acrylic on canvas Size: 18x24 inches Year: 2018

Title: Curious Medium: Acrylic on canvas Size: 30x40 cm Year: 2020

Title: The Beautiful Souls Medium: Acrylic on canvas Size: 5x6 feet Year: 2019

South East Asian 21 Artists Magazine

Title: Concepcion Medium: Acrylic on canvas Size: 24x32 inches Year: 2019

Fine Art Painting Techniques Marion Boddy-Evans is an artist living on the Isle of Skye, Scotland. She has written for art magazines blogs, edited how-to art titles, and co-authored travel books.

Painting Technique: Pen and Watercolor

Painting Technique: Water-Soluble Pen with a Wet Brush This figure was painted using a water-soluble black pen, plus a brush with clean water.

If you're using pen and watercolor, you want to be sure you're using a pen with waterproof ink as you don't want the ink to smudge and spread. But for a monochrome painting, using a water-soluble pen and then turning it into fluid ink by going over it with a wet brush, can create a lovely effect.

A Visual Index of Painting Techniques Pen and watercolor paint on sketchbook paper. Size approx. A5. Photo Š Marion Boddy-Evans.

Licensed to About.com, Inc.

A Visual Index of Painting Techniques If you've ever wondered "how did the artist do that?" and are looking for answers, then you're in the right place.

These photos of various painting techniques will help you find out what was used to create various effects and styles of painting, and how to learn to do it yourself.

The result is a mixture of line and tone (two of the elements of art). The extent to which the line dissolves depends on how much water you apply (how wet the brush is), how aggressively you brush over a line, and how absorbent the paper is. The tone produced can vary from very light to quite dark. You can lose a line completely, or wash a little tone from it without changing the character of the line.

A little practice, and you'll soon get a feel for it. Black is, of course, not your only option. Water-soluble pens come in all sorts of colors.

These feathers were painted using watercolor over waterproof or permanent black ink.

The most important thing to remember when working with pen and watercolor is that the ink in the pen must be waterproof or it'll smudge when you brush on the watercolor. Seems obvious, I know, but if you've various pens lying around it's all too easy to pick up one that's not waterproof or permanent. The label on the pen will tell you, sometimes with a little symbol rather than a word.

Depending on the pen and the paper, you may have to wait a minute or two for the ink to dry completely before adding the watercolor. You'll soon learn because the ink will spread immediately if it's not completely dry (or waterproof). Unfortunately, once it's happened you can't undo it so you'll either have to start again, hide it underneath some opaque paint, or make it a pen-andwater painting. Gouache mixes with watercolor or, if you've got a tube of 'white watercolor', that'll be opaque too.

Can you paint the watercolor first and then the pen on top? Most definitely, though wait for the paint to dry so the ink doesn't bleed (spread out in the damp fibers of the paper). Personally, I find it easier to work with the pen first as it's easier to keep track of where I am in the image.

A Visual Index of Painting Techniques Running a wet brush along water-soluble pen "dissolves" the pen and creates tone. Photo Š2011 Marion Boddy-Evans.

Licensed to About.com, Inc.

South East Asian 22 Artists Magazine

Painting Technique: Over-Drawing a Watercolor

Painting Technique: Water-Soluble Ink Pen (Color Variations)

Working with colored pencil over a watercolor painting is a useful technique for adding detail.

The concept of doing a pencil drawing to which you then add watercolor paint is a familiar one, yet somehow the thought of working with a "drawing medium" over the top of dried watercolor is regarded by some as "cheating". As if once you've started working with paint you can't go back.

It's so not true! The division between drawing and painting is an artificial one; it's the artwork you create that matters.

A sharp pencil is the ideal tool for adding fine detail, for creating a crisp edge. Many people find it easier to control the direction and width of line with a pencil than a brush.

Steadying your hand on a mahl stick increases the control further.

Keep the pencil tip very sharp and don't be lazy about stopping to sharpen it. Rotating it in your fingers as you use it helps maintain the point. If you truly hate sharpening, start with half-a-dozen identical pencils and swap them.

In the example here, I've worked on top of a watercolor painting (once it had dried thoroughly!) using a dark-blue graphite pencil. Specifically, indigo from Derwent's Graphitint range (Buy Direct), which has an underlying dark earthiness to it, different to a normal colored pencil.

It's also water-soluble, so it was crucial to ensure the watercolor was utterly dry! As you can see, it's enabled me to crisp up the edges and introduce shadow. Notice, for instance, how it's altered the mouth, created a shadow on the earlobe and bottom of the collar, and defined the edge of the shirt.

A Visual Index of Painting Techniques.

The color variation in this artwork were created from one supposedly "black" pen!

Obviously you don't have to use a water-soluble pencil with this technique. It was what I had to hand, but also chosen with the thought that I could turn it into paint if I wanted.

Working with a wet brush onto a drawing done with a pen containing water-soluble ink turns the line into a wash of ink. Depending on how much water you use, more or less of the line dissolves.

Quite what color wash you get depends on is in the ink; it's not always what you might expect, especially with cheaper pens. (The potential problem with using a cheap pen is how lightfast the ink might be, but they're great for experimenting, just keep the results out of direct sunlight.)

In the example in the photo I was using a black marker pen I bought at a supermarket on a whim, a black Berol handwriting pen. As you can see, it's "dissolved" into two colors, a result that I think is appealingly effective and expressive.

Quite how water-soluble a pen might be, depends on the brand, but the starting point is to look for one that doesn't say "waterproof", "water-resistant", "water-resistant when dry", or "permanent". How long the ink has dried on the paper can also be a factor; some waterproof pens will smudge a bit if you apply water immediately.

A Visual Index of Painting Techniques Above: The watercolor layer waiting to dry.

Below: Overdrawn with a blue Derwent Graphitint pencil. Photo Š2012 Marion Boddy-Evans. Licensed to About.com, Inc.

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Painting Technique: Salt and Watercolor

These "complicated colors" were built up using multiple glazes.

If you're looking at a painting which has "complicated colors", where the colors have a depth and inner-glow to them, rather than appearing solid and flat, then they're almost certainly created by glazing. This is when multiple layers of color are painted on top of one another rather than being only a single layer of paint.

The key to successful glazing is to not paint a new layer of glaze until the current layer is totally dry. With acrylic paints or watercolor, you don't have to wait very long for this to happen, but with oil paints you'll need to be patient. If you glaze onto still-wet paint, the paint will mix and you'll have what's called a physical mix rather than an optical mix.

Painting Technique: Drips A Visual Index of Painting Techniques Salt and watercolour painting; clematis done with watercolor pencils. Photo © 2010 Julz

This painting was created using salt on wet watercolor paint.

When you scatter salt onto wet watercolor paint, the salt absorbs the water in the paint, pulling the paint across the paper into abstract patterns. Use coarse salt, not fine salt, as the bigger the piece of salt the more it will absorb.

When the paint is dry, gently rub off the salt.

Experiment with varying degrees of wetness of your watercolor paint and how much salt you use until you get a feel for it. Too dry and the salt can't soak up much paint.

Too wet or too much salt and all your paint will get absorbed.

Painting Technique: Glazing Colors

A Visual Index of Painting Techniques. Photo © Marion Boddy-Evans.

Licensed to About.com, Inc.

This effect was created by allowing fluid paint to drip down and, when dried, covered with a transparent glaze.

Incorporating drips into a painting, whether they happen deliberately or accidentally, can give a result that's intriguing and pulls in a viewer. If you paint with fluid paint (thin, runny) paint on a canvas that is vertical, for example when working at an easel rather than flat on a table, then you can use gravity to add a "happy accident" or random element to the painting. By loading lots of fluid paint on a brush and then letting lots of it come off the brush in one spot (by pushing the brush against the canvas and not moving it along), you'll get a little puddle of paint on the canvas. With enough paint, gravity will pull it down in a dribble or drip.

A Visual Index of Painting Techniques. Photo © Marion Boddy-Evans.

Licensed to About.com, Inc.

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You can help the process along by squeezing the paint out with your fingers, and by blowing on the puddle of paint to start the dribble. (Blow in the direction you want the drip.)

With strong drips (ones with lots of paint running) you can rotate the canvas to manipulate where it flows.

The photo shows a detail from a painting of mine called Rain/Fire, created with acrylics. When the initial layer of red was not quite dry, I put on fluid orange paint and allowed it to drip. If you look at the top, you can see where I placed my brush, reloaded with paint each time, in a row across. As the paint dripped down, it mixed in with the stillwet red paint. This, and the layer of dark red glaze added once everything was dry, is why the drips are more orange at the top than bottom.

If you're working with oil paint, dilute your paint with oil or spirits depending on where you are in the fat over lean of your painting. If you're using acrylics, think about using some glazing medium as you don't want to thin the paint too much. Alternatively, use fluid acrylics.

With watercolor, it doesn't matter how much water you add to paint. You can help guide the direction of the paint drip by running the tip of a damp, clean brush on the painting first.

Gravity Painting

You can take painting with drips even further by using mediums that encourage the paint to spread and flow. You then use gravity to pull the paint, tilting and turning your canvas to change direction.

The photo shows two seascapes I was painting, where I turned the large canvas 90 degrees to let the paint be pulled by gravity. The mark making that results is different to that created by a brush: looser, more random, more organic. The wet paint that's dribbling is intended to become the edge of the sea, ripples in the shallower water near the shore. Once it's dry, I may repeat the process with a different tone. After that I'll spatter some white for foam on the shoreline.

For acrylic paint, various manufacturers produce flow improver, which all lower the viscosity of the paint so it spreads very easily. It's not a scientific description, but I think of flow medium as making the paint more slippery, as the way it slips and slides down a canvas is quite different to paint thinned with water alone. For oil paint, adding solvent or alkyd flow medium will encourage the paint to spread run.

I either mix the flow medium and paint on my palette, then apply it with a brush to my painting. Or I drop a little flow medium directly onto the canvas into still-wet fluid paint.

Each produces a different type of mark; experimentation will teach you what you might get. Remember, if you don't like the result, you can either wipe it off or overpaint it. It's not a disaster, merely a step in the creation process.

Painting Technique: Layers of Paint, Not Blended

Visual Index of Painting Techniques Four different blues were used for the sea in this painting. "Camus Mor 5" by Marion Boddy-Evans. Size 30x40cm. Acrylic on canvas. Š2011 Marion Boddy-Evans

The sea in this painting was created by layering different blues on top of one another, with minimal blending.

A Visual Index of Art Techniques. Photo Š2011 Marion Boddy-Evans.

Licensed to About.com, Inc.

The sea often has a shimmer to it, shifting colors and tones as we look at it. To try to capture this, I've used various blues and white, in broken layers so bits of each show through, rather than painting the sea being a consistent, well-blended color.

South East Asian 25 Artists Magazine

The darkest blue is Prussian blue, some of which was buttery acrylic paint and some acrylic ink. The lighter blue is cerulean blue (paint), and the lightest cobalt turquoise (paint). There's also some marine blue acrylic ink. Plus titanium white and, in the sky and forground, a little raw umber paint.

Painting Technique: Iridescent Oil Pastels as a Painting Background

I used some of the paint straight the tube, thinned some with water, glazing and flow improver acrylic mediums.

Adding white to make a transparent blue more opaque, adds to the variations in color.

The blues are painted over one another, sometimes in long brush strokes, sometimes short. The direction of mark-making is important, and should echo the subject.

Here I've worked horizontally, following the horizon, and shifting a little closer to the coastline as waves would curve naturally.

I've avoided blending the colors completely (a temptation when painting wet-on-wet). Let each color show itself and allow bits to peek through the layers. Rather blend too little than too much. If you end up with a hard edge somewhere that is intrusive, you can soften it by placing a little bit of another blue on top of it, then blending the edges of this.

Paint layer on layer, add and hide. Don't expect it to be right first time, don't delete what's "wrong" but work over it.

It all adds depth to the final painting. I tend to work on a painting like this over several days, which gives time for paint to dry completely and to contemplate what I've done.

Remember to step back regularly as the painting looks quite different from a distance and close up.

Painting Technique: Blending Colors

A Visual Index of Painting Techniques The gold background for this linoprint was created using an iridescent oil pastel, blended smooth. Photo © 2011 Marion Boddy-Evans.

Licensed to About.com, Inc.

The background for this linoprint was created with a gold, iridescent oil pastel.

One of the problems with gold paint can be getting an even, smooth finish. So for this linoprint, I used an iridescent oil pastel which I then blended smooth with a finger. Another advantage was that I didn't have to wait for it to dry before printing the linocut over it.

Note: I used oil-based relief-printing ink to print over the oil pastels, not a water-based ink. The pastel will shift and rub off a bit if you touch it, so the artwork would need to be protected under glass. Using this technique for a one-off card, I'd use one of those folded formats where there's effectively a mount on top of the image. Get the lighting right, and the iridescent pastel photographs beautifully, so making prints from an artwork is definitely an option.

• Sennelier Oil Pastels

A Visual Index of Painting Techniques Fine Art Painting Techniques Blending Colors.

Photo © Marion Boddy-Evans. Licensed to About.com, Inc.

Art Techniques Spattering

The soft transition of colors in this painting was done by blending the paint when still wet.

If you compare the deep orange in the sun to that on the top of the hill in this painting, you'll see that the hill has a very definite, hard edge to it, whereas the sun has a soft edge that fades into the orange and yellow. This is done by blending the colors when they're still wet.

If you're painting with oils or pastels, you've lots of time for blending. If you're working with acrylics or watercolor, you need to be quick. To blend, you put down the colors adjacent to one another, then take a clean brush and gently go over where two colors meet. You don't want to add extra paint, nor have any color stop abruptly.

Visual Index of Art Techniques Spattering can be done with a single color, or with several to build up layers of color as shown in these examples. Photo ©2011 Marion Boddy-Evans.

Licensed to About.com, Inc.

South East Asian 26 Artists Magazine

This photo shows two details from a seascape, where the shoreline was painted using a spattering technique over sgraffito.

Next time you change your toothbrush, don't throw the old one away but put it into your art box. It's the perfect tool for spattering. You dip the brush into runny or fluid paint, point it at your painting, then run a finger (or palette knife, brush handle, or piece of card) along the bristles.

Remember to do this towards yourself so the paint sprays away from you.

What this technique produces is a spray of small drops of paint. If you like absolute control, or don't like things to get messy, this is probably not a technique you'll enjoy using.

While you can control or guide where the paint will go to some extent with practice, it does like to spray around and get to places you hadn't expected.

When you can use water-soluble graphite pencil dry onto dry paper, it will produce the same results as a normal pencil. Go over it with a brush and water, then the graphite turns into grey transparent paint, like a watercolor wash. Working with it onto wet paper produces a soft, broad line, that spreads out at the edges.

Water-soluble graphite pencils come in varying degrees of pencil hardness, and as pencils with wood around them or woodless graphite sticks. A woodless version has the advantage that you never need stop to sharpen it. You simply tear off a piece of the wrapper to expose more of the graphite stick. You can sharpen a graphite stick into a point with a sharpener like with a normal pencil, but even easier is to quickly flatten it into a point by moving it back and forth on some paper.

Art Techniques: Gouache and Colored Pencil

Art Techniques Water Soluble Graphite

Visual Index of Art Techniques This mixed media painting combines gouache and colored pencil.

Photo Š2011 Marion Boddy-Evans. Licensed to About.com, Inc.

Visual Index of Art Techniques Water soluble graphite (pencil) on A2 paper. Photo Š2011 Marion Boddy-Evans.

Licensed to About.com, Inc.

The size of the drops depends on how fluid the paint is, how much you've got on the toothbrush, and how you flick it. You don't have to use a toothbrush for spattering, any stiff-haired brush works. Try it first on a page in your painting sketchbook or a scrap bit of paper. Or if you do it onto a painting that's completely dry, you can wipe off the paint and try again. (Though if you're using acrylics, be quick as the paint will dry rapidly.)

To stop paint spraying in a particular area, mask it off.

About the easiest method is to hold or tape up a piece of paper or cloth, covering the area you don't want to be spattered.

This figure study was created with water-soluble graphite.

The lines were drawn first, then a waterbrush used to turn some of the graphite into paint. I also lifted some color directly off the pencil with the waterbrush, and drew with the pencil into still-wet areas on the paper. The technique is the same as using water-color pencils, except you're working in grey tones only.

Being opaque, a layer of gouache paint will hide any pencil marks underneath the paint far more than watercolor. But you can work on top of it with pencil (graphite or colored) as well as draw into the still-wet paint as I've done in this figure painting.

As you can see in the detail from the painting, the marks created by a brown colored pencil in the gouache paint vary. In some places it's moved the paint aside but not left any pencil marks on the paper. In other places it's moved the paint and left a brown line. (Both of these could be called sgraffito technique.) Where the paint was dry, the colored pencil has left a line on top of the paint. Thus a single pencil can produce variety of mark making with the paint.

I do realize purple isn't a color associated with good health and it may seem a strange choice for a figure painting. But I was using up leftover paint towards the end of a life drawing session, and didn't want to take any new paint.

The purple is better than the lime green you can see peeping out at the shoulders. That's definitely an unhealthy pallor! I tried to focus on tone rather than hue, then used the pencil to add a bit of definition to the form of the figure.

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DANG

TUAN

Artist Profile Date of birth: October 29, 1969 Home and Studio address: 188A, Thao Nguyen , Ecopark - Vietnam Contact phone number: 84.4.983097269 ( Mobile ) Email : dangtuan69@yahoo.com www//fb: Dang Tuan Graduated from.Hanoi Fine Arts University - Vietnam Period of Study: 1991-1996 Graduated study: Oil and lacquer painting Founder and executive Palm Artspace – 2019 www//fb: Palm Artspace SOLO EXHIBITIONS 2010 : Journey of Dreams , Viet Arts Centre , Hanoi Vietnam 2005 : Traces of the central highland , Blue Space Contemporary Art center, HCM City - Vietnam 2004 : Milestone, Vietnam National Fine Arts Museum, Hanoi - Vietnam 1998 : Painting on silk , Sunway Hotel, Hanoi – Vietnam

2011 : Globalizations of Asian Culture, The 26th Asian International Art Exhibition, Hangaram Art Museum , Seoul Art Center and Jeonbuk Province Museum of Art – Korea 2010: European International Book Art Biennale , Museum of Art Satu Mare – Romania 2010 : Prayer Flags around the World, Amnesty International, Zoetermeer - Netherlands Graf Gallery, Heidelberg - Germany 2010 : Sylvia Reiser Gallery, Germany, Switzerland, Austria 2010 : University of Sharjha – United Arab Emirates 2009 : Asia@Asia : Manifesting Diversity, The 24nd Asian International Art Exhibition, National Art Gallery – Malaysia 2009 : Prayer Flags around the World , Museum of Art, Satu Mare - Romania 2009 : Artists Over the Frontier. Lyon ,Chauveroche .France 2009 : The East Wing Gallery ,Raymond M. La Fontaine Fine Arts Centre, MA - USA 2009 : Here There and Everywhere” , Hampden Gallery, Amherst , MA - USA 2008 : Asia in harmony, The 23rd Asian International Art Exhibition. The University City art Museum of Guangzhou. China 2008 : Prayer flags around the world'' Grafton Peace Pagoda, Grafton. NY.

GROUP EXHIBITIONS 2020 : Gumum+ism International Art Camp – Tasik Chini, Pekan Pahang – Malaysia 2019 : Freedom & Love, 2nd Art Symposium and Exhibitions at GSIS Museum Manila - Philippines 2019 : Secret Garden , Palm Artspace – Ecopark, Vietnam 2019 : Convergence, Palm Artspace, Ecopark – Vietnam 2018 : Paris Art Fair - International Painting Symposium, Paris - France 2018 : Red Project at Rocky Shore – Tokyo 2017 : International Symposium of Contemporary Art , DFEWA – Ardud Transylvania – Romania 2017 2017 : International Artswitch Exhibition, Jogja gallery, Yogyakarta – Indonesia 2016 : 10th International Symposium of Modern Art , Mallnitz – Austria 2016 : Solo International Art Camp , Solo – Indonesia 2012 : Java Spices , International Visual Art Exhibition, Jogja National Museum Yogyakarta – Indonesia 2011 : Open Lacquer, Hampden gallery, Massachusetts – USA South East Asian

Harmony 2017 / Acrylic on canvas / 130cm x 130cm 28 Artists Magazine

2008 : TVIM, Visual art exhibition of South - East Asia Artists. Jogja Gallery, Yogyakarta – Indonesia 2007 : The 22nd Asian International Exhibition at Selasar Sunaryo Art Space, Bandung, Indonesia.

2007 : 8th International Symposium of Modern Art , D fleiss & East West artists, Carei contemporary art Museum, Carei, Romania 2006 : Malaysian-Vietnam- PhilipSoine joint Exhibition at Soka Gakkai Malaysia (SGM) Exhibition centre.

2005 : Convergence, Ho Chi Minh City Fine Arts Museum - Vietnam 2001 : Liquid, Blue Space Gallery, Ho Chi Minh City Vietnam 2000 : Young Painters, Vietnam fine arts association, Hanoi - Vietnam 1999 : Vietnam Fine Arts Association Exhibition, Hanoi Vietnam.

1998 : The Flow, Three man exhibition with Diep Quy Hai and Tran Hoang Son Blue Space Gallery , HCM City - Vietnam.

1997 : Parcours, Contemporary Arts Workshop and Exhibition 1997 : Alliance Francais, Hanoi - Vietnam 1997 : Vietnam- Asean Arts Awards Exhibition, Hanoi Vietnam 1995 : National Fine Arts Exhibition, Hanoi, Vietnam RESIDENCIES AND WORKSHOP 2016 : Artist residency DFEWA – Mallnitz – Austria Artist residency in Solo Art Camp – Solo, Indonesia 2006 : International Conference and performance art workshop, Da Lat ,Blue Space gallery - Vietnam 2005 Convergence , International workshop and Exhibition, Mui Ne HCM City Fine Arts Museum Vietnam .

2001 Liquid, International workshop and exhibition, Long Hai Blue Space Gallery, HCM City – Vietnam 2000 : Asiatopia, International Performance arts festival, Bangkok, Thaila European Book Art Biennial Romania 2000 : Awards from Vietnam Union of Literature and Arts Association 1997 : Honor Certificate Recognition by Philip Morris Company

Sunshine in the Garden - 2018 Acylic on canvas 120cm x 120cm

Bibliography and Publication 2010 : Dang Anh Tuan : Paintings of Growth and Optimism – Essays by Dr. Annette Vanden Bosch for Dang Anh Tuan ' solo exhibition at Viet Art

Freedom - 2018 / Acrylic on canvas / 80cm x 100cm

Centre – Hanoi , Vietnam 2008 : New Direction in Contemporary Vietnamese Art : Le Thua Tien, Nguyen Thanh Son and Dang Anh Tuan - by Annette Vanden Bosch Essays on Modern and Contemporary Vietnamese Art Singapore Art Museum – Post Doi Moi. 2008 : Here , There and Everywhere : anticipating the Art for Future – Trans Cultural Exchange, Boston,USA 2008 : ASIA in Harmony : The 23rd Asian International Art Exhibition Guangzhou - China 2008 : TVIM : visual art exhibition of South – East Asia artists – Jogja Gallery, Indonesia 2007 : Imagining Asia - Understanding the Diversity and changes : The 22nd ASIAN International Art exhibition – Indonesia 2006 : Malaysia , Philippine ,Vietnam art exchange exhibition – Wisma Kebudayaan, Malaysia 2005 : Return from wide Roots with ' Traces of Central Highland – by Duong Van - Vn Express.net, 07 / 6 / 2005 2005 : Breath of Wide Central Highland -by LH, Vietnam Net – 17 : 04', 07 / 6 ( GMT / 7 ) 2005 : Traces of Central Highland – by Le Thuy . Van Hoa, Van Nghe Magazin - No 24 ( 161 ) 16/ 6 / 2005 : Traces of Tay Nguyen –by Song Pham . Sai Gon giai phong thu 7 Newspaper 18 / 6 / 2005 2004 : Artist Dang Anh Tuan : From Impressions to the Stamp of an Artist's Originality – by Nguyen Xuan Tiep, 10 / 2004 2004 : Far and Near – by Phan Cam Thuong, 10/ 2004 2004 : Colors from Feeling – by Hai Ly, Kinh te do thi Newspaper, 8/11 /2004 2004 : Color of Central Highland – by Vu Duc Toan , Van Nghe magazine . No 1 & 2 ( 1 – 8/1 / 2005 ) 1998 : The Flow – Blue Space gallery . 4 / 1998 1997 : Parcours – Alliance Francaise , Hanoi. 6 / 1997

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By Arnaldo Bernabe Mirasol

FRANKLIN CAÑA VALENCIA'S close association with Malang began when he joined the Saturday Group in 2001. The late Mauro Malang Santos, one of the Philippines' most successful and higly-esteemed painters, served once as President of the similarly highly-esteemed Saturday Group, and was considered its spiritual leader for many years before he passed away.

“Through the colors” @ 29 Acrylic on Canvas 62in x 36in 2020

Magoo, Malang and Cana October 29, 2003 At Shangrila Plaza, Mandaluyong

I know two Filipino painters surnamed Valencia: one is Franklin's older brother Magoo, and the other, columnist Teodoro Valencia's daughter, Roceli Valencia-Eala. Malang, being aware of that too, suggested that Franklin sign his paintings from then on as just Caña, to avoid being confused with the two other Valencias. Malang spoke from experience. He himself did that. His full name is Mauro Malang Santos. He never signed his paintings with his last name Santos because he knew that Santos is one of the most common family names here in the Philippines. The name Malang, on the other hand, is catchy, easier to remember, and almost unique. So is Caña.

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I mentioned earlier that Malang is the acknowledged spiritual leader of the Saturday Group.

He was its guru, not because he is the oldest member, but because of his artistic achievements and stellar status in the Philippine art scene. Malang was one of National Artist Vicente Manansala's proteges. Manansala was that master who passed on to his followers his fascination with cubism. These followers are Hugo Yonzon, Oscar Zalameda, Romeo Gutierrez, Manny Baldemor, and Ang Kiukok, to name just the really famous ones. But their individual styles, even if from a common cubist wellspring diverged at some point, and have become styles distinctly identified with each individual artist.

Although he'll be quick to assert that his work was just cubist-inspired, which is true in a way, Franklin truly is a cubist, a fourth generation cubist, because of his penchant for segmenting his paintings into curves, crescents, and polyhedrons of different gradations and hues.

But in all fairness to him, his adoption of the cubist idiom, is just coincidental.

“ The Sitter “ Acy35c on Canvas 5’ x 12’ 2019

It was not Picasso, not Manansala, and not even Malang, who gave Franklin an idea on what style to follow.

His future painting style became etched in his mind very early in his life, even before he learned how to handle a paintbrush, when he happened to peer closely at marbles which he held against the sun and saw trapped inside metal crescents, twisted and straight, that glow and glitter this way and that, depending on where the penetrating sunlight falls. “ Pure Love @04 “ Acrylic on Canvas 24in x 18in, 2019

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Another inspiration were kaleidoscopes. A kaleidoscope is a toy, a tube that contains bits of colored glass or plastic and two mirrors at one end that shows shifting symmetrical patterns as the tube is rotated or shaken.

I don't know if kaleidoscopes are still being sold in this day and age of electronic gadgetry, but they were pretty common playthings among us kids n the 1960s. I remember us taking turns in peeping through the kaleidoscope hole keenly expectant of the new pattern formed after we shook up the tube.

Franklin said: "What I do is enjoy lang ako sa pasabog kulay.

(What I do is just enjoy the bursting colors)." Those words reveal his long-time fascination with the shifting and bursting colors and patterns inside a kaleidoscope which he is trying to emulate now in his angst-free abstractions. We can see therefore in Franklin's art a convergence of his two sources of inspirations which, incidentally, are both toys---marbles and kaleidoscopes.

Because he arrived at his signature style through a path he himself blazed, Franklin's style couldn't be boxed within the ambit of the other cubist styles that have cropped up over the years. Franklin's cubism isn't analytic, synthetic, or transparent cubism. It is Cañaism!

Cañaism may sound facetious at this point, but that's how names of art styles evolved. Remember that Impressionism and Fauvism were supposed to be derogatory descriptions coined by art critics annoyed by the newness and non-conformism of those two art style.

Top Left : ”womanature @ 28” Acrylic on Canvas 40” x 30in, 2018 Right: “Laban” Watercolor on Paper, 29in x 21in, 2016 Below: “Woman nature @ 26 “ Acrylic on Canbas, 48in x 48in,2018

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Franklin studied at The University of Santo Tomas College of Architecture and Fine Arts, but failed to finish the course because of deficiencies in his Spanish subject and ROTC (Reserve Officers Training Course). Franklin jokingly said that he ran away from the ROTC MPs (Military Police) because they were teaching him how to kill, when he felt deep inside that he is an artist, a creator---and not a warrior. Although he failed in the above mentioned subjects, Franklin claimed that he got high grades in the so-called major or laboratory subjects, which is not hard to believe.

“The Last Supper@04” Acrylic on Canvas, 3ft x 9ft, 2016

“Grace” Acrylic on Canvas, 18in x 24in, 2019

“Kaleidoscope Urbanscape@136” Acrylic on Canvas, 40in x 40in, 2020

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Franklin's family was poor, that's why he was compelled early on to work.

He accepted drawing jobs from his classmates and teachers when he was in grade school. He also accompanied his father on his rounds to peddle tinapa (smoked fish), and helped his elder sister in selling vegetables in their hometown of Calauag, Quezon.

He also worked part time at his elder brother Magoo Valencia's art and sign shop where he was assigned the job of erasing the old letterings and drawings on materials they will reuse.

He had also worked as contractual factory worker for a few months when he was in high school to earn money for his school uniform and notebooks.

A not very promising start, I would say, for one who would later become a master painter.

In 1982, Franklin left for Jeddah to take on the job of graphic designer.

He worked in Jeddah for eleven years. His years there stood him in good stead when he returned to the country for good. He easily became art director for J. Romero and Associates, was promoted to design director, and after years of notable work, to department head.

“Fandango with the Lights” Acrylic on Canvas, 36in x 50in, 2019

Franklin has had 12 solo shows, the latest of which was September last year in Geneva, Switzerland. His Geneva show was sponsored by a WHO official who offered to pay for his board, lodging, air fare, and other expenses. That was a tempting offer no artist in his right mind would refuse.

He was also invited to participate in a recent group exhibit in Paris, with another sponsor shouldering all of his expenses

“Womanature@25” Acrylic on Canvas, 48in x 48in, 2019

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Franklin have participated in more than 50 group art exhibits, many of them abroad. He had exhibited in the United States---in New York, New Jersey, Arizona---and of course, in Paris, and also in Hongkong, Singapore, and Malaysia. He was Art Manila newspaper's Young Artist of the Year for 2002, and was a winner in the First Saudia Art Competition in Jeddah.

Top Left: “Womanature @22” Acrylic on Canvas, 40in x 40in, 2018 Below: “Womanature @23” Acrylic on Canvas, 40in x 40in, 2018

“Womanature@24” Acrylic on Canvas, 48in x 48in, 2018

Franklin met his future wife, Teresa Servida, in Jeddah.

They are blessed with four boys, who Franklin said are all artistically-gifted, being frequent winners in art competitions when they were young.

But Franklin is sad that they opted not to follow their father's artistic path, because they see it as a life of constant struggle to make ends meet. But I don't see that stereotype about struggling and starving artists true in Franklin's case. Because if there is one artist who is on his way to fame and fortune (if ever he is not there yet), that would be no other than Malang's protege, Franklin Caña Valencia.

“Womanature @22” Acrylic on Canvas, 40in x 30in, 2018

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canyathepainter@gmail.com

Museum and Gallery of Modern and Contemporary Art The Museum and Gallery 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.

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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 Mon - Fri: 10am - 4pm Sat, Sun and Holidays: Closed Moncada - Alcala - Bayambang National Road (Arboleda Street) San Pedro Ili, Pangasinan, Philippines museumgallery.ph@gmail.com

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COVID-19 is spreading around the world. More and more people are being affected by the outbreak, losing jobs, reducing incomes and even saying goodbye to their lovers forever.

In order to commemorate the outbreak, inspire the world with the art of painting and show concern for life, Asian Art Association teamed up with famous painters from around the world to hold This competition is divided into a professional group and Amateur group. The painting masters of Global Artists Committee of Asian Art Association participated in the selection. After the pandemic, the outstanding works will be exhibited in professional galleries and hospitals against COVID-19.

The members of Global Artists Committee of Asian Artists Association include: Chen Chudian (Singaporean painter), Jack Neo (Singaporean director), Chip Tsao (Hong Kong writer), Xiao Qiongrui (Taiwanese art critic), Yann Rebecq (French painter), Rusa Makowski (German painter), Alena Vavilina (Russian painter), Roy Espinosa (Filipino painter) and other nearly 100 outstanding artists.

This competition is a charity competition All amateur and professional players are free of entry fee. Works and registration fee are submitted online through the official website of the competition. A portion of the entry fee and proceeds from the auction of paintings will be donated to a charity fund for those affected by the outbreak. The deadline for registration is on August 30, 2020 Website: https://en.artassociation.asia/worldcharitypaintingcompetitionfightcovid19/ Rules In accordance with the national or regional grouping, categories for Professional Group, Amateur Preschool Group (3 to 7 years old), Amateur Children Group (8 to 12 years old), Amateur Young Group (13 to 17 years old), Amateur Adult Group (over 18 years old).· Each contestant is limited to one piece of work and may not be co-authored. · Works can be expressed in various ways, regardless of form.

In order to maintain social distance, this activity will adopt online registration and transmission of works. In order to ensure quality, the pixels of the works should not be less than 300 dpi.

Entries are limited to their original creations, and the theft of others' works is strictly prohibited. If there is any infringement, the creators are responsible for their own legal liabilities except for recovering the rewards according to law, which has nothing to do with the organizer.

Entries will not be returned. The winners selected by the finals will have the right to collect, exhibit, and publish, and wil not pay remuneration or royalties for future use.

In order to implement environmental protection and love the earth， certificates of appreciation will be sent in the form of electronic documents． Please print or frame for display as needed． The name on the certificate will be based on the time of registration. Please fill in correct information and if there are any error kindly contact the organizing committee immediately.

The works of professional group painters will be entrusted to professional institutions for auction， and the auction proceeds will set up a special fund to donate to people affected by the pandemic． ・ The organizer has the final right to interpret the event． Signing up for the competition indicates compliance with the selection rules and the final selection results of the organizer． South East Asian 38 33 Artists Magazine

Asian Art Association has teamed up with J Team, one of Singapore's most famous film and television companies, to share the database of contestants for the Asia Festival. The contestants are trained on their merits and selected for film and TV production.

Founded by renowned director Jack Neo, who won the Singapore presidential medal, J Team has produced a number of box office and word-of-mouth films over the past 20 years, including Money No Enough, I NOT STUPID, Homerun, Ah Boys to Men, Killer Not Stupid and so on.

Founded in the charming city of Singapore, Asian Art Association is committed to promoting cultural and artistic exchanges among Asian countries. In addition to holding art competitions such as “Asia festival", "World Heritage Live Painting Competition" and "World Charity Painting Competition”. AAA is also developing cultural and study tours such as "Asian masters camp", and will launch more distinctive cultural and art exchange products.

Website: https://www.artassociation.asia/

Speech by James To, MP of Hong Kong for Fight COVID-19: World Charity Painting Competition Hello, I am James To, member of the legislative council of Hong Kong. I know that people in many parts of the world, like us in Hong Kong, have recently been affected by covid-19, which has reduced their income, caused them to lose their jobs and even bid farewell to their lovers.

It is a very meaningful thing to express the reflection on the humanitarian disaster and care for life with the paintbrush. I hope that more people can participate in “Fight COVID-19: World Charity Painting Competition" held by Asian Art Association. So that more people can feel the power and charm of art.

Speech by Lim Wee Kiak, MP of Singapore in 15 August, 2019 NUS Center for the Arts I would like to thank the judges, guests and teachers for your hard work and dedication, which has produced such outstanding contestants and made Singapore shine tonight. I would also like to thank Asian Arts Association for creating a high-quality and professional art exchange platform that has attracted so many art lovers from Singapore, Asia and the rest of the world to come here and show their talent and shine.

Hi, I am Anthea Ong. A nominated member of parliament in Singapore. I hope you well.

We are living in such interesting times, which is also presenting us with such amazing opportunity to become a better world. So I am really heartened that Asian Art Association has put together this meaningful initiative called Fight COVID-19 : World Charity Painting Competition. I hope and invite you art lovers to come forward to support this initiative. Let's show the power of art. By inspiring our front line workers, healthy care workers and migrant workers. To celebrate this coming together of all communities or making them feel supported and appreciated. Of becoming united, as a country as a society as a world.

So please support Fight COVID-19: World Charity Painting Competition.

Let's show the power of art. Let's come together.

South East Asian 39 Artists Magazine

THE BLUES OF BOROBUDUR, Oil, Acrylic and Java sand on canvas, 100x100x10cm, 2019

Sakti is you who are able to speak with HANDS in quiet without speaking.

Sakti or Magic means great power. The name Sakti comes from India (Sanskrit), the word Sakti has the meaning of great power or energy, commonly used for a child's name, company name, product brand, place, etc. The Sakti is the manifestation of active energy or the power of a god ( Purusha), the word Sakti which means great power, this energy you may use in your daily life as long as the meaning of Sakti does not have a negative connotation in your environment.

Speaking of magic, the painter Syis Paindow and other painters are magical people, they are the people who have created great works, they are able to produce beautiful works through their hands without speaking. The ability to speak through artwork is a miracle. Sakti is when the people are able to control their emotions when they are angry, able to lower their voice even though they are allowed to scream, Sakti are those who despite their great abilities are still humble.

And all of that exists in this one artist, his name is Syis Paindow, he was born on April 26, 1970 in Majene, West Sulawesi. His artistic talent is inherited from his Father Muh

Yasir Tarakan who was known as a singer and musician who mastered violin and other musical instruments. He was known as a Keroncong musician in the Mandar area of ?

West Sulawesi in Indonesia, plus his mother S. Redha was also known as a dancer and teacher South Sulawesi of traditional dance in Makassar. His mother worked as a supervisor in the Ministry of Education and Culture in Makassar. Syis Paindow was raised by her mother as a Single Parent alone with his younger brother. And the urge to make her happy became Syis Paindow's biggest wish. That's why he is always passionate in pursuing the art world.

Syis Paindow is an artist who is very focused in his work. He is known as a very quiet person, although he doesn't say much, but he is able to produce realistic works with a very fine and thorough details in a relatively fast time. In addition to collecting taper shoes, he also really likes motorbikes and antique cars, especially Volkswagen, he is a member of several Volkwagen clubs in Jakarta. With his long-haired and cowboy boots, he has gone through many life processes as an artist.

In 1993, in the last semester of his college he had begun his

South East Asian 40 Artists Magazine

Syis Paindow With Mr. Sutanto ( Head of the National Gallery) and Mr. Taufik Razen (curator and cultural observer), National Gallery Jakarta, Indonesia 2019

use traditional colors that contain spiritual symbolic values and give birth to magical powers, as well as having brush ? strokes that have enough character, each object that is etched is able to bring "Soul" in every object of painting that is worked on in a photographic realistic manner that allows us to explore the meaning behind the object.

Socio-cultural reality is not only related to traditions, cultural values, norms and religious values ? that are diverse, but the socio-cultural reality becomes the overall form of a community's life, in the nation and state. This is as a singular form of diversity if the Indonesian nation has a dynamic socio-cultural reality in the development of technology and information. Although it cannot be separated from the influence and development of the world socio-cultural reality globally. The socio-cultural reality of Indonesia has become

part of national and state life in international relations. That is the awareness of Syis Paindow to see the social and cultural reality of painting not only on the problem of his artwork, but how a painter makes painting a part of the socio-cultural reality of life as a concept and social awareness. By explaining the concepts and methodology of research and creating his paintings. Hopefully it will provide a deep value load. Until people are able to grasp the message without having to talk.

Sometimes his work is inspired by either Trend Fashion Mode, also from his fondness of listening or observing to Rock, Blues, Progressive, Jazz, Metal, and various other genres which at the same time can trigger adrenaline in works such as: Disturbed, Metallica, Dream Theater, Sepultura, Napalm Death, Apocalyptica, Angra, Evanescence, Lenny Kravitz, Whitelion, POD Jimi Hendrix, LedZeppelin, Sting, Audioslave, BB King, Janis Joplin, Jim Morrison, Dewa 19, Ahmad Dhani, Rhapsody, Kitaro, Joe Satriani, Steve Vai, Yngwie Malmsteen, and other guitar heroes.

You will find his other artworks besides on canvas, namely murals on high walls in the Ang Mo Kio area of Singapore, and in the Phillip’s office, The work was greatly appreciated and received praise from his Minister, "an amazing work," he said. As well as the extraordinary appreciation from Philips owner who was very satisfied with his ferrous mural

THE MAGIC of BOROBUDUR Oil and Java Sand on Canvas 300 x 117x 4cm, 2016

"Art for me is an expression of personal taste and soul, as a medium for expressing ideas, conveying messages, also a

South East Asian 41 Artists Magazine

question, can all parts of the flag be washed clean?

Still in the studio of Dede Eri Supria, Syis Paindow showed the Balinese version of Monalisa's work, and several other realist works, said Dede, "Your realist is strong, just show your characteristic more," said Dede at that time. And praise is what triggers the fire fund of enthusiasm that burns it.

Making it even more eager to make works that are not just works, but spectacular works.

After his meeting with Dede Eri Supria, Syis Paindow again made criticism, still in the work on reform entitled "Master Mind". He painted the Red and White Flag again, this time the flag was being infused as a symbol of a country that was seriously ill, a clown was also being seen holding the reins of several monkey masks that were playing on the political arena, as a symbol of unstable and easily provoked people, with a background of ethnic composition of the archipelago as a symbol of the decline of Indonesia's tourism world at that time the impact of the riots 98.

SIMPHONY of LOVE the Legend of Dewi Sekartaji and Panji Asmoro Bangun, Oil on Canvas 90cm x 90cm 2018, Indonesia MASK Touching The Hidden Spirit National Museum of Romania.

career as Head of Design in a rattan furniture company that was exported abroad. In that company he designed a lot of rattan furniture before going through the production process.

In addition, he also worked at a consulting company CARAKA Group, where he gained the confidence to design the Mandala Monument in Makassar. Until this day the Monument still stands firmly in Makassar City.

Because he often took care of his mother, he also claimed the profession as a dance teacher and became a Modern and Traditional dancer, any kind of art work he takes. He still accepts all types of interior and exterior design work, advertising services for the state and private offices and banks in Makassar until his final exam at IKIP Makassar (Makassar University) in 1997.

That is an element of depth or space in the fine arts by Syis Paindow, an impression that can be felt by connoisseurs of art directly. The description is pseudo (not real, because it is only an impression created by the eye) like a picture that looks concave, protruded, or flat. Well that's Syis Paindow, he needs days to inspire and think of ideas for the theme of his paintings which according to people. But that became his character. So far he has proven himself as a realist artist who is very serious in his work.

A few years later he decided to paint and become an art teacher as a full-time career, because that allowed him to produce better arts. His works are inspired by a large variety of Indonesian cultures from stories, myths, legends, various ethnic elements of the archipelago, which are deliberately mated or according to him the term collided between past events with the present, with the content of the issues that are being a trend, and is very thick with social criticism and contemporary life that surrounds his life.

It appears in each of his paintings that there is a tendency to

In the beginning of 1998 back in the Reformation Era, he decided to start focusing as a Professional painter. He painted a lot of portrait orders and senior paintings in Makassar until the end of 1999. With a strong determination and intention, he ventured to move to Jakarta to expand and deepen as well as strengthening the arts. He thought that his move would allow him to meet people from various backgrounds and be able to develop a better understanding of the arts and cultural heritage of Indonesia from other regions such as Java, Bali, Lombok, Toraja and other islands, as well as business development at the local level. and International.

The first place he visited when he first set foot in Jakarta was a private studio owned by Dede Eri Supria, a surrealist painter who was highly admired and amazed him by his large paintings. At that time Dede was painting a criticism of social reform 98 with the title, "The Collapse of the Golden Stage," in size 220c0 x 270cm. Because at the same time he was painting a social reform criticism 98 artwork entitled, "Yesterday, Today and Tomorrow" he delivered his criticism on the canvas without speaking. The eyes of ordinary people would see the red-and-white Flag of blood that was washed using a black bucket, the black color is a symbol of mystery, why is it a mystery, it appears that some flags have been successfully washed while the other parts are still dirty, the

LIGHT MY FIRE, the Legend of Arjuna Fantasy (tribute to JIm Morison the Doors) Oil on Canvas 110cm x 110cm, 2019

South East Asian 42 Artists Magazine

medium for learning to capture the exoticism of beauty that God has created in this world. Art is essentially a form of unlimited creativity as outlined in various types of appearance. An artwork is ideally not bumped or shackled by certain rules or isms or norms. Like me today, I want to drink coffee, drink juice, milk and so on, but in the end it's still me who drinks it, not others,� he explained.

For many years he focused as an Independent artist who has steadfastly pursued this field, painting as a profession, commission work project painting portrait where some of his funds are to meet the needs of the family, and some are used to finance his works. For him to work is a means of experimenting at the same time train and hone the Realistphotographic visual engineering skills by trying to conquer the brushes as well as various other painting tools so that all the ideas and inspiration in his head are easily poured into the canvas by his hands.

Paindow to be able to share knowledge and be a benefit for others.

He had his solo exhibition in 2006 at the Borobudur Magelang Amanjiwo Resort, entitled "Spirit of Borobudur", which received wide media coverage. And a solo exhibition in 2007 at Novotel Yogyakarta.

He has traveled far and wide participating in various exhibitions. He moved to Jakarta and met several circles in 2001 he was trusted to make many portrait works, painting

In his search for aesthetic painting he has explored various styles or studied various styles of Maestros. All that he did from the early period of painting in Makassar. He was influenced by Marten Pattilima and Rusdi Trunajaya (he learned a lot from him), Basoeki Abdullah, Raden Saleh, Dede Eri Supria, Sutjipto Adi, Rembrandt, Norman Rockwell, Ans Markus, Frida Kahlo, Piet Mondrian, Margaritte, Basquiet, Salvador Dali, Leonardo Da Vinci, Sebastian Kruger, Mersad Berber, Hofker, and others.

In 2003-2004 he often played in Blok M and met and then befriended the chemist front pharmacy chemist, where he met teen street singers who wanted to learn painting.

Without thinking, he then invited the street buskers to his studio. About 7 people he taught to learn to paint for a month without paying anything or free. They said, "How come you want to teach us, Bang? Aren't you afraid that we will use the knowledge later? " He answered casually, "No problem!

That provision is from Allah and will not be reduced or confused by teaching it to you .. " He taught the buskers as teaching other people with the initial process of sketching pencil practice to the process of moving objects into each canvas. He said, "Look, we paint using the same objects, the same canvas media, the same brushes and oil paint brands, so there is nothing to differentiate."

After the process took place, it began to be seen from those who had strong, moderate, and no talent at all, but he always emphasized that learning to paint was only 1% talent, his willingness had to be 99%, because he needed constant training to be able to "Conquering brushes," so that all ideas can be realized on canvas. But the natural selection that determines between them the first week one by one, some street children leave and they return to the street singing.

"We'll do it first, sir, then come back again," they said. Lastly only 3 people remained who survived the studio and could consistently paint until now.

As a graduate of fine arts alumni who should has been a formal art teacher in 2008-2010 teaching at the Rupa House in Kemang gallery, he also teaches private painting, Iincluding mexican expatriates with one of his students graduating from a leading art school in Italy, who also had a solo exhibition and made a collaborative fashion show event and painted several times at the Indonesian Embassy in several countries. His students have also often participated in exhibitions at home and abroad. It is happiness for Syis

Batik Workshop AKTO, Art and Disign College Athena, Greece

faces at the Sir Museum. Harry Darsono (fashion designer), Anna Bambang (singer), Sharron Cintamani (Miss Singapore 2002) and her mother Elisha Cintamani (Miss Surabaya 1966), Hilda Ruscono (celebrity), Yulie Indra Setyohadi (owner Gallery), Adjie Notonegoro (fashion designer) , President of the Republic of Indonesia Susilo Bambang Yudhoyono and vice president Yusuf Kalla, Taufik Kiemas (politician), Aksa Mahmud (owner of Bosowa / Politician), Gen. Makbul Padmanagara (ex Kapolda Metrojaya), Aulia Pohan (banker / government) Arwin Rasyid (ex minister), Rafika Duri (singer), Airin Rachmy Diani (South Tangerang Mayor, Yanti Erlangga (celebrity / politician), mbah Putri, Sasha (businessman) ), Reike Michelsen (businessman), Wita Wilkes (artist / batik lover), Sophie Martin (Shopie Paris), Xaverius Nursalim (Phillips), Djohan Marsuki (OTO multiarta), Hura Kamadjaya {Kamadjaya Logistics), as well as many of the expatriates (Belgium, Paris, London, United States, Denmark, etc.), in a realistic style, he is known as a realist artist, the task of the portrait, of course, impress his clients.

Not satisfied with this achievement, he created works of art combined with the subject of social commentary and local heritage. He is also brave enough to paint about the development of Indonesian politics so that viewers can see his patriotic response to the political climate in Indonesia.

The composition is very cynical but full of message and awareness. It encourages the audience to be a thinking person rather than a passive audience.

His works have been collected by museums, galleries, government offices, professionals, banks, hotels and established local and international collectors.

Hati Sti Prameswari

South East Asian 43 Artists Magazine

South East Asian 44 Artists Magazine

Hope and Healing through Arts #BangonBatangas January 12, 2020 (Sunday, 2 PM), Taal Volcano, known as unpredictable, one of the active and dangerous volcanoes in the Philippines, erupted after being quiet yet restless for more than 40 years. Many of our fellow Filipinos in Batangas and nearby areas experienced ash fall which damaged their houses, livelihood and source of income. As alert level drastically rose to Level 4 (means hazardous explosive eruption is possible within hours to days) in just matter of hours people within the 14-KM radius danger zone were evacuated to safe evacuation centers. The following day, the province of Batangas was declared under the state of calamity. As Taal Volcano continues to show signs of major eruption, towns of Batangas were locked down to keep residents from returning home. Towns placed in lockdown are Agoncillo, Alitagtag, Balete, Cuenca, Laurel, Lemery, Malvar, San Nicolas, Sta Teresita, Taal, Talisay, Tanauan City, Parts of Lipa City, and Parts of Mataas na kahoy; Taal Volcano Island was put into permanent danger zone said Batangas Disaster Risk Reduction and Management Office head Lito Castro, Friday, January 17, 2020.

Coach Koni together with her family was in Tagaytay on that day, and she witnessed how Taal Volcano spewed ash. Later they hear ashes falling on the roof of café they were staying.

They actually saw falling volcanic rocks as big as coin. Going back home to Silang was tough as ashes covered the windshield of their van plus the volume of traffic went heavy because of people who were in panic rushing to get home before it gets dark.

While Coach Koni was gathering donations for Taal Eruption Victims, she received a message from Mommy Kat, founder

of Tagaytay Moms (an online based Mom & Baby Support Group that advocates Breastfeeding, Babywearing, Cloth Diapering and Modern Parenting). Coach Koni and Mommy Kat, with her husband Tagaytay Vice Mayor Raymond, met in IKON event of Fora Mall Tagaytay last September 2019. After learning about ARTreach, Mommy Kat enrolled her daughters, Liane and Zuri, in ARTreach Painting class.

The message Mommy Kat sent was an invitation for ARTreach Missions to conduct ARTScamp to Taal Volcano Eruption victims. She wanted to provide worthwhile activity for children of Taal volcano eruption victims in DOH Treatment and Rehabilitation Center in Tagaytay, and she trusted ARTreach for this project. After some arrangements and coordinating with people who are willing to help, Hope and Healing through Arts: “Kulayan Natin ang Taal” ARTScamp was realized. ARTreach Missions, Inc. Phils. in partnership with Tagaytay Moms (TM), TM family and Friends, Faber Castell, Tagaytay City Government, Village of Hope, and Expose Creatives wanted to give children hope and to relieve the stress, fear they experienced during the calamity.

The first wave of Hope and Healing through Arts: “Kulayan Natin ang Taal” ARTScamp commenced on the 24th of January catering 150 kids ages from two (2) – nine (9). The children welcomed the Team and volunteers, one of them is Momshie Nett an ARTreach student, with warm smile and hugs. In their eyes, you can see the innocence from all the things they experienced. They started the program by singing and dancing to action songs dedicated to the Lord.

From the room, people outside heard the children sang loud

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received 115 artkits (long plastic envelope, pencil, eraser, sharpener, 9”x12” sketch pads, 36-sticks Pentel Oil pastel, and tissue) for them to use during the workshop. ARTreach Missions hosted the art workshop teaching the kids techniques on using oil pastel. Before they learn something new each day, they always begin the art workshop by singing and dancing praises for Lord. On their first day, kids explored the color theory and apply it when creating a flower masterpiece on their sketch pad.

Press from GMA 7 visited the evacuation center and interviewed Coach Koni regarding the ARTSCAMP. On the second day, they went to deeper understanding of 3-D Art through learning about highlight and shadow, then they practiced the to praise the Lord. They were delighted to hear and see how excited kids to sing, dance and create through arts.

They said these kids really need this kind of activities and they are so happy to see kids enjoying the ARTScamp.

Representative from Faber Castell Ph, one of the sponsors, hosted art workshop and gave away coloring pages, coloring pens, oil pastels, pencils and erasers. Kids' faces lifted and formed beautiful smile of gratitude as they extend their hands to receive these gifts.

Second Wave of Hope and Healing through Arts: “Kulayan Natin ang Taal” ARTScamp happened January 27, 29 and 31. The second wave catered preteens to teens ages from ten (10)nineteen (19) years old. This batch

South East Asian 46 Artists Magazine

technique while making Tomato masterpiece. After practicing they apply what they learned by creating a masterpiece of Taal lake and volcano on their sketch pad. On the third day, kids became fashionistas as they decorate their pants with paints. In the afternoon, they became fashion model as they walk down the catwalk wearing their very own designed pants. It was like Paris Fashion Week as they pose for photos with Ate Mariel and video with Kuya Janrey of Expose Creatives. The kids cheered even louder as Ms. Reighn, one of Tagaytay Moms volunteers known by the kids as Nang-nang, walked liked a ramp model showing her newly designed backpack. Following the fashion show, nine (9) kids were selected for the final round and two were selected as best receiving cash gift from Coach Koni. Of course, every after ARTScamp is a graduation, all participants who attended and completed the Hope and Healing through Arts: “Kulayan Natin ang Taal�

ARTScamp received certificate from ARTreach Missions.Kids selected as Outstanding Artist receiving not only certificate but also cash gift. After taking graduation picture, kids enjoyed dancing like they don't know how to get tired. Top 5 best dancers

received cash gift from Nang-nang.

Time to say goodbye came. Though it was just for short time, ARTreach Missions and Tagaytay Moms together with their partners TM family and Friends, Faber Castell, Tagaytay City Government, Village of Hope, and Expose Creatives wish these kids to find hope and be healed.

ARTreach Missions, Inc. has been serving the community since 2001. Through the years of working discreetly to help the community, there are individuals and

South East Asian 47 Artists Magazine

groups who have seen the passion of the people behind ARTreach, aiming to raise the banner of education through teaching arts. ARTreach Director Coach Koni was awarded Gawad Uliran – Arts Category in 2011 by Silang Women's Club for her service and for being a role model to her community. ARTreach Creative Director Cowilyn Joyce “Coach Cowee” Pascual, received a prestigious award of 15th Geny Lopez Jr. Gawad Kabataang Bayaning PilipinoRegional Category last May 8, 2019 at Ateneo De Manila.

After that, her alma mater De La Salle UniversityDasmariñas, where she graduated BS Architecture in the year 2015, recognized her outstanding contribution to the community as a Young Patriot Achiever last July 20, 2019.

Last September 1, 2019, ARTreach and Coach Cowee received another recognition from Fora Mall Tagaytay as an IKON (Istorya ng Kultura at ng mga Obra Natin) 2019 awardee. And recently, October 18, 2019 she was recognized by her high school alma mater, Elisea School of Creative Learning (formerly known as Cavite Institute) for her outstanding accomplishment in the field of ARTS as she received the award, Gawad Elisea 2019.

ARTreach offers all these recognition to its Master Founder, our Almighty God. And in every step that ARTreach is taking to move forward, it will always be for the glory of our Lord.

South East Asian 48 Artists Magazine

South East Asian 49 Artists Magazine

MARK ANTHONY

Talion ViĂąas

Mark Anthony Talion ViĂąas, is an all-around visual artist. He was born in Tinambac Camarines Sur and grew up in Catanduanes where he remembers with fondness how his enthusiasm for drawing started. He was a curious five-yearold child who started drawing random images with a stick on the soil even before he learned to draw on paper. As a young boy people saw that he had talent and he was encouraged by his family, teachers, and friends to draw and to continue to hone his skill and talent. It was when he became the Art Editor of the CSC Statesman (the official tertiary student publication of the Catanduanes State Colleges) where he won numerous awards for editorial cartoons and literary graphic illustrations. Mark became the first student in Catanduanes to win the Highest Pointer Award, given by the Bicol Association of Tertiary Schools Publication Advisers.

He was also awarded as one of the Top 5 Higher Individual Pointers in the Luzon wide Higher Education Press Conference Individual Competition.

Mark eventually became a member of the College Editors Guild of the Philippines and an active student legislator in his school. He also won the Subic Bay Earth Day Jam Body Painting Contest in 2006 and was the editorial cartoonist of the tabloid Catanduanes Tribune in 2006-2007.

In 2005, something happened to Mark that brought a South East Asian 50 Artists Magazine

Sa Kanlungan ni Ina / Oil Pastel on Felt Paper 14in x 22in

Child Within / Oil on Canvas 16in x 20in

different perspective to his art. His life experiences have carved a deep passion that yearns for him to embark on a philosophical and spiritual search for his roots and purpose. This search has lead him to look at his own frail humanity and reflect on man’s search for the meaning of his existence. Mark continues to strive for artistic perfection, always drawing inspiration from his wife Mariah and their young daughter Marjenka Ces. More so, he derives divine inspiration from his faith seeking union with the divine. He believes that faith and art making should be integrated.

As an artist he continues to explore how to convey his personal faith and belief in art and experimenting on the impact of various media and approaches to painting. Mark, who now likes mixing realistic and abstract figures, experimented with pencil, watercolor, acrylic, oil, and collage in all genres of art and has been exhibiting as an artist locally and abroad since 2015 he joined the Art Association of Novaliches 2018 and the Filipinas Institute for the Advancement of Arts and Culture (FILARTS) last 2019. He had his first solo exhibit last 2017 at Word International Christian Ministries Quezon City. And had joined various group exhibits since 2015. He had also exhibited in Singapore last July 2019, QingDao China last September 2019, and just recently last February 2020 in Penang Malaysia.

Resting on Your Bossom / Soft Pastel on Felt Paper / 14in x 22in

Vanishing Breed / Oil on Canvas 36in x 48in

South East Asian 51 Artists Magazine

Sanae

Yamada

Sanae Yamada was born in Ehime, Japan in 1972. She studied fine art at Kyoto University of Art. She is married to a Malaysian and immigrated to Malaysia in 2003. After her children grew up, she focused on painting tropical nature. She is inspired by the rich and bountiful nature in Malaysia. She will find a subject when she goes out for a morning walk in her neighborhood or she visits the backyard of her in-law's. It is like a treasure hunt. But she knows the sad fact while she is observing and interacting with the nature. Wild animals are forced from their home in rainforests where the nature is lost and environment is degraded in the process of development. Precious things are lost rapidly. Then she started to research more endangered wild animals and coral reef, too. Now she wants to leave her feelings on canvas with respect and gratitude to the nature in Malaysia.

Dreamy Night / 2020 / Acrylic on Jute canvas / 91cm x 91cm South East Asian 52 Artists Magazine

Gathering around Orchids 2019 Oil on Jute canvas 50cm x 50cm

Nenek's Back Yard Jungle 2019 Acrylic on Jute canvas 50cm x 50cm

Jewels of Tropical sea 2020 Acrylic on Jute canvas 61cm x 91cm

Tropical garden 2019 Oil on Jute canvas 182cm x 122cm South East Asian 53 Artists Magazine

C h a i SOO

Born on January 25, 1988 in Binondo Manila, Chai Soo, a self-taught artist grew up in a small town in Borongan, Samar.

Being an only child and growing up with no parents around, she was raised with a strict supervision, limiting her interaction in the outside world. She then found an ally through brushes and paints. At an early age, she found bliss in expressing herself through arts and painting.

In 2007, as she began to lead her own life, she set aside her passion and focused on making a living through the hustle and bustle in the corporate world. In early 2017, after almost a decade of dealing with the high demands and pressure at work (and life), she felt an urge to go back to her old passion — painting. It then became her definition of escape whenever she got too much on her plate. It became her voice. A dramatic reflection of her deepest thoughts, hidden emotions, and inner chaos.

She uses acrylic on canvas as her medium and incorporate it with vivid colours, spontaneous bold gestures, and a number of different experimental approaches to set the tone of her work.

She hopes to inspire people through her works, to never be afraid to speak their mind and to stand up for what they believe in as that what made her presence felt not only in the local art scene but also in the international art scene.

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Steadfast Bravery Abstract Expressionism 3ft. x 2ft.

Acrylic on canvas 2018

Conquering The Gap Abstract Expressionism 3ft.x 3ft.

Acrylic on canvas 2019

Bleeding Soul Abstract Expressionism 2ft. x 3ft.

Acrylic on canvas 2018

Social Equality Abstract Expressionism 2ft. x 4ft.

Acrylic on canvas 2018

Quantum of Solace Abstract Expressionism 4ft. x 6ft.

Acrylic on canvas 2020 South East Asian 55 Artists Magazine

Artphile and Espacio Manila is located at the 2nd level of Festival Mall’s Expansion Wing, Alabang, Muntinlupa City.

For more information, email us at galeriecmg@gmail.com or reach us at 8 829 0831, 0998 964 0832 or 0917 829 3961.

South East Asian 56 Artists Magazine

ESPACIO

Espacio Manila and Artphile Gallery are twin spaces that foster the artisanship of Filipino virtuosos ranging from conventional to contemporary visual masterpiece. These two galleries celebrate the intricate beauty of Philippine art, cultivating both fledging and prominent creators who significantly contribute to the local art scene. Albeit both serve as an avenue for various aesthetic sensibilities, Espacio Manila ventures as an exploration for the new media and contemporary expressions; while Artphile promotes the perennial pursuits of traditional artistic works. These two galleries continuously thrive since the inauguration in 2018, successfully hosting group exhibits by various artists as well as the Cebuano artists group lead by Orley Ypon, and the known contemporary art group, the KUTA Artist Group. They also held an exhibit for a cause by a three-man show between Bangladesh Pervaj Hasan Rigan and Nabila Nabi and the Philippines —Roy Espinosa. Espacio Manila also hosted Freedom and Love 2019 Plein Air Live Sketching with the visiting artists from all around the world. The twin galleries have been actively participating in ManilArt where they showcase the works of Roger San Miguel, Jean Govinda Marquesto, Mayi Peñaflorida, Pope Dalisay, Chito Borja and talents of their home-grown artists.

Mark Shellshear 0947.647.34.65 markshellshear@gmail.com galeriadelasislas@gmail.com 28

It’s OK to say IT. I get many young Artists speak to me about selling and how hard it is to say no when being pressured by a buyer to give a discount.

Now let’s step back a little.

For the buyer it’s a game, they say everyone gives a discount, it’s just the way it is.

The interesting thing is that the buyer likes the painting, so that is good and they see value in it as they want to buy it and because most Artists give discount, they expect you to do it also.

The problem is most Artists panic and say yes, because they are afraid of losing the sale.

But wait, the buyer likes it and sees value in it, he just wants you to put some of your money into the deal.

So say no.

They like it, they see value in it and so will others, the problem here is not the painting it’s the buyer.

Say no and change the game.

They may just leave, good result for you, the painting is still with you and you can sell it to somebody else.

They may argue with you that you are unfair, that’s good, they may still buy the painting that you have taken off them for full price.

They may smile and say yes and they will buy it for full price.

No is not a bad word, so give yourself permission to use it, you are allowed to say no to people, they are not better than you, they are people like you.

It’s ok to say no.

South East Asian 57 Artists Magazine

Lockdown 2020 Acrylic on Canvas 60in x 84in

Pancho

Piano With more than 54 one-man show, almost a hundred group shows and recognition from different institutions under his belt, Pancho Mistula Piano is one of the most important and well respected Filipino artists in the Philippines today. His art mainly focused in myths and legends and the people of his beloved Bicol Region. His Daragang Magayon and Penafrancia series are well-loved by collectors, critics and even the ordinary folks themselves. A very versatile painter, his stained glass and murals have been part of different churches here in the Philippines and overseas, In a book entitled Different Strokes: A book on the Ingenuity of Filipino Artists (volume 1), the author wrote: In his paintings, Piano either becomes a mythologist as he often paints characters from the Bicol mythology, or a devotee, as he always paints the translacion, or the return of the patroness of Bicol, the Our Lady of Penafrancia, to her old home. and from time to time, he also becomes a historian as he was commissioned a series of paintings depicting the lives of Filipino heros namely Andres Bonifacio and Apolinario Mabini. His skill to translate into visual representation the oral tradition of his beloved Bicolandia is truly superb...�

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Heal us Oh Lord acrylic 42in x 42in

Japanese Girl Mixed Media 60in x 48in

Voyadores Acrylic on Canvas 18in x 24in

Ang Babae sa Bintana 1 Acrylic on Canvas 20in x 30in South East Asian 59 Artists Magazine

S'Kaki Art Residency + Art Gallery #skakiartgroup #skakiartstudio #skakiartresidency #skakiartgallery

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Why Looking for Studio art space for working in KL? Whether you’re a solo artist or a larger team, S’Kaki space will find a space to suit with you !

Our S’Kaki Art Residency space brings Studio style Space to the capital, living with studio, Art Gallery space and hostel space for rent all available on easy, simple agreements.

Art space in S’Kaki Malaysia and is part of the growing artist network, meaning members in the space will have access to our Thailand, Indonesia, Singapore and Australian or over the world spaces for rent when they travel, with our S’Kaki Art Residency + Art Gallery .

South East Asian 60 Artists Magazine

We offer a variety of spaces, if you are looking for a private space for just yourself or for a large team we’ve got you covered. Enquire now for more information and pricing. Price can negotiate.

Directions / Maps:- https://goo.gl/maps/xFcRonFvLY42 7-2, Jln 67/26 Taman Sri Rampai, 53300 Kuala Lumpur Parking Onsite parking available. (Beside School) Nearby Bus Stops Rapid – AEON @ Alpha Angle Shopping Mall.

Nearby Train Station Wangsa Maju Station or Sri Rampai Station visit site: https://skakiartresidencyartgallery.wordpress.com

South East Asian 61 Artists Magazine

Hongkong’s renowed artist Eddie Lui are are also on display at the Palm Artspace

Palm Artspace is a contemporary art gallery seeking to promote a genuine appreciation and passion for Vietnam and international Arts, ranging from traditional to contemporary artworks. established by Vietnamese visual artist Dang Tuan set in the midst of a lush greenery. It not only conducts art workshops for the young and the young at heart but is also home to local and international art exhibits.

The gallery boasts of paintings and sculptures of up and coming visual artists as well as established masters from the local and international art scene gracing its walls at one point in time.

Dorothea Fleiss artist residency at Palm Artspace 2019

Diverse personalities flock the place to marvel at the visual art feast presented everytime the gallery holds an art show.

Palm Artspace is dedicated to presenting artists who have brought esteem to Vietnam art by perfecting their skills and talents in traditional media and subjects.

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Palm Artspace, provides a venue for exploration of new media and contemporary expressions. It nurtures the fresh creativity of artists.

“With Palm Artspace, we have given a space to artists who are bolder and more experimental in their creative pursuits.

Their artistry could be described as contemporary but we could refer to them as the “Millennials" in Vietnamese art,” Palm Artspace gallery is located at 188A Thao Nguyen Ecopark Hung Yen Vietnam.

Dang Tuan’s artwork are displayed in one of the events in Palm Artspace

Singers and traditional music performances in the opening art exhibition The Art of Zhen Shan Ren, March 2020

Dang Tuan’s artwork are displayed in one of the events in Palm Artspace

From left to right : Eddy Lui , Dang Tuan , Nguyen Phuong Mai , Winnie Mac , Pham Huy Thong, Khong Do Tuyen , Le Dinh Nguyen, Vu Binh Minh , Vu Minh

One of the guest looking immensely at the paintings South East Asian 63 Artists Magazine