Filipino Artists Magazine Vol 3 no 20

Vol. 3 issue No. 20 P150

AR T I S T S FILIPINO

MAGAZINE

Art, Culture and Lifestyle

freedom and

love

International Art Exhibition

Philippines + Malaysia Art Exchange Program

Allanrey “Migz”

ISSN 2507-9468 25079468

Salazar

Filipino Multi-Awarded International Contemporary Artist

Contents filipino artists magazine / Vol 3 / issue 20

features

08 09 15 16 22

The Sale and After Sale Service By: Mark Shellshear

Freedom and Love International Art Exhibition

The 10th Planet

by Ingrid Aimee

Natural Motion, Emotional Vision

by Anton Larenz

Why Focal Points in Painting Are so Important by : Lisa Marder

30 39 45 51

Migz Salazar Filipino Multi-Awarded International Contemporary Artist

Borobudor Today Balance in Limanjawi

by Rain Rosidi

Words to Describe Art by: Marion Boddy-Evans

Art Events

Exceptional Java Borobudur

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AR T I S T S

The Team

FILIPINO

MAGAZINE

Art, Culture and Lifestyle

Ruth Chua

Mark Shellshear

Editor-in-Chief

Columnist

Roy C. Espinosa

Jun Taniang Rafael Gozum

Creative Director

Photographers

Jonh Renoir Graphic Designer

Hati Sri Prameswari Ingrid Aimee Marion Boddy-Evans Lisa Marder Editorial and Satellite Business Office: Blk 4 Lot 13 Gemini St. Cruzville Subd. Quezon City 1124 Email: filartspublishing@gmail.com / filartsincorporated@gmail.com

Contributor

EDITOR

FROM THE

Filipino Artists Magazine has gone international! For this issue, that is ?

Featured on the cover is internationally renowned contemporary Filipino artist Allanrey “Migz” Salazar. The Paris - based artist is the first Filipino to win the prestigious Pablo Picasso International Art Prize. Wow! One of the instances that makes me proud to be a Filipino.

Highlights on the recently concluded Synergism, an art exchange program between the Philippines and Malaysia is also featured in this issue. Of course there’s the 12-nation art collaboration held in Borobudor, Indonesia entitled Freedom and Love. Filipino artists are literally going places!

Back here at home, another set of homegrown Filipino artists are given prominence in this issue, as part of FILARTS’ advocacy and commitment to support and promote Filipino artists and their works.

We hope you’ll enjoy reading the magazine as much as we did. So, read on!

Ruth Chua Editor in Chief

ROGER

SAN MIGUEL Roger San Miguel, a septuagenarian with a white shock of tousled hair and beard is often dubbed as the "Father of Filipino Impressionism." He himself has never been insecure about his paintings. In his own words, "Let the painting speak for itself."

Since his early childhood, he was gifted with drawing skills. As years go by, the greatness of his works were shown greater appreciation by the foreign market and became a known Filipino artist not just in Philippine art industry.

Roger San Miguel, by showing an exceptional skill in his craft was chosen to bring back into existence the glory of Fernando Amorsolo's murals at the Metropolitan Theater which was believed to have been stolen during the theater's many years of neglect. Roger San Miguel had to depend on the photographs of the mural in Amorsolo's book. After working on the mural for 6 months, Roger finally unveiled a mirror-image of "Sayaw," as if the mural had never been lost. It is now located at GSIS Museo ng Sining in Pasay.

An art critic Barbara Wright stated that, "The emotive power of Roger's works draw heavily from his kinship and intimacy with nature, which is never subordinated to the human figures, treating it as mere background or setting, but is acknowledged as the source of the painting's essential pleasure."

This review agrees to San Miguel's perspective on art that everything to him is a product of perception and imagination, which always communicate what is real and true.

I Love You Mommy / Oil Canvas / 41 diameter / 2016

Palengke Series I / Oil on Canvas / 48in x 24in / 2018

Balut Vendor / Oil on Canvas / 30in x 24in / 2017

Friday Market Scene / Oil on Canvas / 48in x 48in / 2016 6

The Sale and After Sale Service.

I was asked the question, what did I mean by after sales service?

I believe that Artists should give sale and after sales service and this is what I mean by that.

Every time we have an exhibition, the goal is to sell and also to get the contact address of every person who shows interest in our work, email and phone if possible, so that you can keep the conversation going.

The paintings in the exhibition, please, Artists put your name, phone number and email address on the back of the painting so you can be easily found by your buyers.

Also Artists must have their small exhibition handout packs ready during the show to give to those who take interest in their paintings.

In this pack there should be a short resume of yourself, photograph, the address of your studio, your email address and phone number, your Facebook account and your web site if you have one.

This is so important because if the buyer decides later they want one of your paintings they can contact you easily.

Once the show is over then you start the after sales service.

You have the email address of your buyers and contacts, now you must email them a short friendly note thanking them for buying your work or going to your show and ask permission to send them your monthly newsletter.

Getting permission is important because that gives you their consent to contact them and build a relationship and this is what we want, relationships with our buyers and potential buyers.

Once this is established you can now send them your monthly newsletter telling them of future shows, painting specials in your studio for your newsletter friends only, open days at your studio and all the studio gossip etc. that you can think of, if you have cats and dogs in the studio include them, it all builds connection.

No hard sell, just a chatty newsletter about you and your Art. Do this every month and occasionally a friendly email for each one of them saying hi and inquire about your painting they own.

If you do not have a monthly newsletter, start one and start building relationships.

The key to after sales service is building relationship off permission, They will become your friends as well as your collectors.

Mark Shellshear 0947.647.34.65 markshellshear@gmail.com galeriadelasislas@gmail.com 7

Romeo “Meo”

Babautan Coming from a lineage of artists, Cebu-based Romeo Babautan is an accomplished master in his own right. The versatile artist is a comic book illustrator, billboard artist, and mural painter rolled into one.

He has a long list of accomplishments under his belt, most notably his commission art works. Among his significant works include the mural on Kuh Ledesma’s Music Museum, the De La Salle Dasmarinas, Cavite mural, and the St. Scholastica’s wall mural.

Romeo Babautan is a self-taught artist. He learned to sketch, draw , and paint on his own and through years of work experiences has mastered his craft. Romeo has passed on the gift of painting to his equally talented son Yeye. He taught Yeye everything he knew as an artist, and is now following on his footsteps as a billboard artist and mural painter

Yeye Babautan / Palaspas / Acrylic on Canvas / 24in x 18in

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freedom and love International Art Exhibition

by Hati Sri Prameswari

Mural done by Freedom and Love Group in Villa Borobudor

Freedom, a sacred word that is desired by the people during colonial times. Then about half a century later, after developing in the community, the words "Reformation."

of government was no longer moral. Until now, art and literature are still the media to express anxiety, and worries, especially when people's representatives are considered to be untrustworthy.

Various forms of resistance and all of their words of wisdom are a form of resistance to the suppression of human rights, especially in terms of freedom of expression, freedom of thought, and freedom of expression.

"Art generally will continue to be a balance that will pay attention to the condition of society. Every time there is freedom that is threatened, the world of art can always be an alarm to warn the public. Because art is truly love, and also culture. Art is a product of culture in the civilization of mankind to be a mirror of the development of human civilization itself.

Communities form a line on the road to claim their rights, go hand in hand towards the government office, an unfamiliar sight in countries that dream of independence which still occur frequently. On the other hand in a more tangible form, a group of people carried out a resistance to fight for freedom, resistance to ways of expression, and argued, Resistance might not be considered heroic. Only an expression, opinion, in the form of works of art and literature.

Through art, people have "Freedom of expression, freedom of thought and opinion are human rights. Without it we don't have a healthy society. Now the role of art and literature is one of the products of culture in the history of mankind. The progress of human civilization is reflected in that, in that sense, Art and writing sharpen the ability of freedom of opinion and expression. If you look at the history, in the time the community experienced pressure and violations of its Human Rights, that's where resistance and partiality always arose.

Art works and literary works are media that can provide space for expression and also opinion. The media is always able to channel one of the many human rights. At the end of the New Order period, morality was one of the issues often raised by great artists, whether in art or literature, This was intended as a form of assumption where at that time the state 10

Likewise with art and literature. In a time when people are under pressure and violations of human rights will emerge works that are in favor of humanity. In an authoritarian regime, everything must be subject to the regime. No exception with science which also often sided with the ruling group. However, works of art and literature are still able to side with people who experience oppression.

"Art also has a function to re-express something that science cannot express. Art and literary work challenges new ideas and new forms, so that we do not stop creating and socializing ".

Love in Indonesia now feels increasingly fading and becoming expensive, especially those related to the period leading up to presidential and legislative elections.

This is what inspired the painter artists to hold art exhibitions entitled ‘Freedom' and Love’. The International Fine Arts Exhibition titled 'Freedom and Love' was held at Padepokan el Apple Watoe 'Jl. Badrawati No. 19, Tuksongo village, Borobudur, Magelang from March 9 to April 9, 2019.

This exhibition was opened by Dr. Oei Hong Djien, collector and curator of fine arts from Magelang. The initiator, coordinator and organizer of this exhibition is Deddy Paw

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owner of Padepokan el Apple Watoe 'Borobudur and Abu Jalal Sarimon, owner' abjartstudio @ sg 'from Singapore.

In this exhibition the painters express love with works.

Freedom here means that the painters are free to talk about anything, free of technique or how to paint it and are free to put their creations in any media. He added, the exhibitors/ painters chose the Borobudur area as a place of exhibition, because there are many things to learn in Borobudur Temple, both the physical structure of the temple and what is behind the splendor of the temple. Abu Jalal Sarimon explained- the holding of this international exhibition was an attempt to bring up painters from Asia and Europe. Because every painter artist must be able to promote himself. Besides that, this exhibition is also a place for gathering painters from several countries, each of whom has given birth to works of art in accordance with the theme of the exhibition. On the occasion, the exhibition also invited art collectors from neighboring countries, such as the Philippines.

According to Dr. Oei Hong Djien, love is an element of human life, because everyone talks and feels it. The continuity of human life cannot be separated from love. In this exhibition the painters have been able to express their love through their works that can be enjoyed by their beauty.

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There were 24 painters from 11 countries who took part in the exhibition 'Freedom and Love'.

They are Deddy PAW, Syis Paindow, Cipto Purnomo, Niluh Sudati, Nurfu Ad and Umar Chusaeni (Indonesia), Abu Jalal Sarimon, Barry Yeow, Chia Chor Hua, Suhat Sugiyou and Neha Jain (Singapore), Alef Ahmad, Visithra Manikam (Malaysia ), Swati Palekar (India), Kexin Zhang (China), Roy Espinosa, Lloyd Lusica (Philippines), Eddie Lui, Winnie Mak (Hong Kong), Nahla Ali (Egypt), Pervaj Hasan Rigan, Nabila Nabi (Bangladesh), Farrukh Negmatzade (Tajikistan), and Gersende D'gers Feitouchi (France).

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Freedom and love proves that in art and love we can unite in art work without seeing differences in skin color, language, and religion; we can do many positive things for world peace.

Just wait- Freedom and Love will continue to spread the cells of goodness and love throughout the world.

There will be Freedom and Love part 2 and so on. Just wait and see..

Before leaving Magelang Indonesia, Freedom and Love scraped their brushes to make mural fine art on the walls at Villa Borobudur, The most awesome and one of the most exclusive villas at Magelang Indonesia. Abu Jalal (Singapore), Syis Paindow (Indonesia), and Barry Yeow (Singapore), they stopped painting at 3 am and went for sleep. They accompanied by Atte' (Syis Paindow's wife) and her friend Eni surrounded by the nature and stars on the sky. We passionately drawing and applying colours on huge artworks of 7m x 3m. Such an enjoyable time drawing with all kind of music from the phone and natural sound by the insects around them.

Big Thank You to Mr Engo the Owner of this villa for giving all the opportunity to perform on his playing field. And also to all artist from 11 countries.

Before ending this article, allow me to write a poem that is on the wall accompanying the mural of these artists. . . .

A Message from the Mountain Welcome to Indonesia my Friends Welcome to our country which is in a great upheaval But look at us, we gather here without asking about religion, etc. Our skin color is clearly different, our way of thinking is certainly not the same ...

But look at us one more time We came from different parts of the world But being able to unite and be united by the Almighty through art and love.

Love, which once was said noiseless, does not have a form, but has an amazing power The art and love that brings us together, gives us the freedom to make art work and express. “Freedom and love�

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The 10th Planet

When I write, this world we call earth is no longer my home. I beam past our solar system, through and through the universe onto my own planet where only my creations and I can survive.

The planets' sky is words. Endless sentences wrap the sky as if you were inside a snow globe with every great writers words scribbled on the glass.

There is no sun for my planet, the words above are like stars, they light themselves and so light my planet. Yet the shadows on the ground are my own words. The breeze tickling my cheek is like braille, I can feel the words that it wants to say. I need neither pen nor paper in my world. I need nothing but my imagination.

My "planet" has no boundaries or ends, just like the ceaseless sentence in the sky, so it holds other universes, worlds, cities, places, and people all of which I have created. Contrary to real life, time and distance have no control. I can be in a lovely little city where trees are white as snow with leaves the brightest gold, and with streets made of sapphire pebbles, and a moment later I am on

flat, lifeless trek of land where red rocks litter the ground, isolating and emphasizing the one lone silver arrow stuck in the ground shimmering against the burning glare of light created by my literary sky.

Endless are the words and thus endless is my world. The places are infinitely changeable. There is no point of exhaustion for them. There is not a "No way out" or "One Way" sign. Their possibilities are limitless, ever expanding, and evolving.

I shaped my planet into what it is today, and yet my "planet" shaped me into what I am today. Having this place has helped me become an entirely different person than I would have been had I not. It’s an outlet for my creativity, annoyance, sadness, and every other feeling that I have. I need never to be ridden with anger, sadness, annoyance, or become overwhelmed for more time than it takes to mentally transport myself there. It is a place where my mind is challenged, and where I can grow inwardly.

I have been told multiple times that I have an old soul, and eyes that have seen their fair share and I believe I can truthfully say it is because I write. My love for writing has taught me lessons that I would not have learned in life if I did not write. I have had to feel the pain, loss, love, and happiness in order to write it. Writing taught me how to present details, it has made me confident in myself and stand my ground and have faith in my ethics, answers, and beliefs. It also has taught me that the effort you put into the small details of things are what make the big picture that much more spectacular.

Writing is the way we mere humans catapult ourselves to being Omni-parent and omniscient. It is an escape and jail at the same time. For once you taste writing in its truest form, you are incapable of anything else.

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Natural motion, emotional vision Anton Larenz Art writer "The still mind of the sage is the mirror of heaven and earth, the glass of all things. Vacancy, stillness, placidity, tastelessness, quietude, silence, and non-action - this is the Level of heaven and earth, and the perfection of the Tao and its characteristics." Zhuangzi on emptiness.

In the beginning there is a line, then a dot eventually could be added. That's where everything in painting starts from. The line could be straight, bent or twisted, but basically it is still a line.

Kamandhatu at the base level or lower part of the Borobudur temple. Kamandhatu is the symbol of lust, and the pleasures of the world, for the nature of human beings whose behavior is still bound by desire. In Sanskrit, Kamandhatu means the realm of desire. In the Kamandhatu part of Borobudur temple are 160 carved relief panels. They generally describe the law of cause and effect or karmic law. So they stand for laws of nature.

The Buddhist temple of Borobudur could even be seen as an abstract artwork, consisting of lines and circles (with stupas in their rounded forms). It is built on a geometrical structure, the Mandala, representing the universe.

The essence of the doctrine of Buddhism in Sanskrit language is called 'Shunyata'. The realization of Dharma (cosmic law and order) is the innate nature of phenomena and mind, leading to the perfection of wisdom. This is the Buddha Nature. In terms of the phenomenal world (including our physical/energetic bodies), this is emptiness. The perfection of wisdom (prajnaparamita) is the

Arupadhatu is the highest level of the Borobudur temple and the symbol for essential nature or character that has been freed from desire, all of the worldly problems and not bound anymore to karma, regardless of form (intangible) or non-form. Arupadhatu is also called the nature of the gods and the symbol of Buddha's sanctity where true happiness lies. Arupadhatu is the opposite of

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realization of Dharma.

cultures (rock art), as a quest for the origin of the depiction.

Western artists have been inspired by this, too, and have appropriated elements from other cultures into their works, for example Adolph Gottlieb and Jackson Pollock, who had been influenced by Native American art.

Recently the monochromatic abstract art from South Korea has found a worldwide attention. Chinese as well as Japanese artists have also received more appreciation in their home countries, but as well on an international level.

Meanings of abstract vary according to their place of origin and time. Indonesia has a special tradition in

In this sense Borobudur could be considered to be the perfect place for an exhibition of abstract art. Many artists have described their abstract works as a form of meditative practice, emptying their minds first for meeting with the deepest level of their emotional self, for listening to the pulse of life and freeing the inner flow, building a communication between micro cosmos and macro cosmos. So if we ask for the meaning of abstract art it is difficult to find a generally valid answer for this question. Many people still feel confused by seeing an abstract artwork and may even doubt if it means anything at all, often comparing the painting to the doodling of a child. But for artists such a perspective on abstract art is far from their understanding of the process of producing and emerging it.

Abstract art should be even valued as the most serious and difficult ways of artistic expression. On the superficial level it could be compared to ornamental or decorative visualizations, but that would ignore the deeper layers of expression and erupted feelings that are behind it. It's hard to achieve a good result in abstract painting or sculpturing, it is an art that requires many skills and a long period of introspection and experimenting until the right composition of space, shape and color will be found.

Abstract art could be represented in various techniques, forms and styles. The Russian painter Wassily Kandinsky was one of the first artists who explored that vast area. Now the Swedish artist Hilma af Klint is often mentioned as the real forerunner of abstractionism, predating even Kandinsky, who had also written a book on the spiritual in arts, comparing it to music. A colored dot on the painting first, extended into lines, circles or triangles - that's what Kandinsky called "tonality' in painting. From there started the modernist tradition in abstract art - well-known names like Piet Mondrian, Franz Kline, Robert Motherwell, Jackson Pollock and Mark

ornamentalism and decorativism, visible in batik and wayang figures. Generally abstract art is understood as 'nonfigurative' or 'non-objective' visualization, but sometimes still featuring elements of figurative art, which is termed as semiabstract or, in the words of the art writer and critic Tony Godfrey, 'ambiguous abstract'.

What happens in the process of abstract painting has basically a relation with nature, in the broadest sense, an exploration of organisms, objects and processes, but in an abstracted form. Extremely unfamiliar appearances emerge on the canvas or becoming forms as sculptures. It is a process of de-composing and re-arranging of nature.

Kazimir Malevich, the founder of Suprematism, had rejected this idea of nature but on the other hand he perceived creativity as embodying living forms. The creative process itself becomes a natural activity. There still remains some discernible similarity, such structures can be called biomorphic. Biomorphism is one of the many different styles and in abstract art, besides Abstract Expressionism, Suprematism, Informel, Tachism, Geometric Abstraction and so on.

"Abstract Party" wants to celebrate abstract art which until recently in Indonesia was appreciated by a few art lovers only, although in the past, beginning in the late 50's, abstract art had already found some followers among Indonesian artists. To mention just a few names: Nashar (with his concept of the "Three-Non": non-conceptual, non-objective, non-technical), Fadjar Sidik (geometric abstract elements), Sadali (with his spiritual abstractionism), A. D. Pirous (starting from Arabic calligraphy), Gusti Alit Chakra (among the more famous Balinese abstract painters), and, in more recent times, Hanafi (influenced by Tachism) and Mahendra Yasa (now one of the leading contemporary abstract painters.

Rothko have dominated that special scene of abstract painting for a long time, always associated with Western modernism.

But there are other sources, traditions and starting points for abstract art in other parts of the world. For example the tradition of Chinese ink painting, or calligraphy (either Chinese, Japanese or Arabic), other abstract art evolved from symbolic images derived from traditional or even prehistorical

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All of them, among many more others, have prepared the way for a wider acceptance and appreciation of abstract art in Indonesia.

Former street art techniques have been transformed into a more abstract depiction by Heri Kris and Joko 'Gundul' Sulistiono. Deskhairi and Dedi Sufriadi tend to a more experimental side in abstractionism; Deskhairi evokes a tranquil atmosphere with softer colors, while Dedi Sufriadi refers to a graphic design with his painting 'Lore Ipsum', a term that is used by graphic designers as temporary placeholders for unfinished texts on their web sites, combining letters as visual elements with some blurred color.

Agus Baqul continues with his series that is derived from Arabic calligraphy. Utoyo Hadi, a senior painter from Jepara, is already renowned for a long time as abstract painter, more leaning to expressionist abstract painting. With "Kolotido" he refers to the famous Javanese intellectual Ronggowarsito, who is known for his prophecies. In the letter titled 'Kolotido' Ronggowarsito speaks about the chaos of time, the cyclical period of Kaliyuga in Hinduist religion, the "crazy" time that is marked by the loss of morality.

"Abstract Party" shows the varieties of abstract styles and provides an opportunity to discover the outside of Indonesia relatively unknown world of Indonesian abstractionism in their diversity and different understandings of what abstract art could mean. Renowned senior painters like Nasirun (not denying his original background in Batik design), Eddy Sunaryo with his symbolic abstraction (refering to primitivism), as participants they show here two important traditions in the development of abstract art in Indonesia. Others, like younger artists from Bandung, - Mola and Pini Fe -, as well as the originally more figurative, but with strong expressionist elements, painter Pupuk DP follow the abstract expressionist style, another prominent tradition in Indonesian abstract painting. Januri, formerly starting from figurative painting, joins them in their expressive endeavour.

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instead of canvas. His work is an abstraction of his imagination of the Borobudur temple, representing its mysterious spirit.

Tjokorda Bagus Wiratmaja and Adi Wirawan show powerful works with strong colors and texture which could be affiliated to the tradition of Balinese abstract painting, while Budi Ubrux gives a monochromatic impression in grey, white and black shades, a balanced composition. Deddy Paw, known as the painter of apples, combines his favorite icon with whirling water, flowing around the figurative apple, indicating his wish for a return to abstract art that he had done in the past, symbolizing change. Riduan's alludes to landscape painting, but it is already in transition to purer abstraction, in soft and bright, but expressive color. Nguyen Ngoc Dan shows his affinity to the Vietnamese tradition of soft or pastel color, depicting abstracted landscape, too. Not far from this theme, but coming from a different tradition again, Yasumi Ishii, painted an abstract composition reminding of the atmosphere and style of classical Japanese landscape painting, but it is a landscape of her inner mind, shining in gold, purple, blue and red. Keixin Zhang is also close to the Chinese painting tradition, by painting on silk

Abstract does not happen on the canvas only, sculpture is also a medium that is suitable for abstractionism, how it is proven here by Akmal Jaya with his wooden figure, a processed fossil, enhancing and emerging the character of nature in abstraction. Stone is the natural material used by Basrizal Al Bara, maybe alluding to the footprints of Buddha, but with shoes on. Win Dwi Laksono presents a figure that represents the shape of sound, another natural reference.

Yoga Wantoro combines stone and metal, a small copper plate within a stone. Flow and motion, colorful visual sensation and philosophical concepts behind the art provide an entrance to a different world, for feeling and also achieving insights about life and ourselves. But anyway, let's have a party for our eyes and enjoy.

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Norman

CRISTOBAL During the late ‘70s, Norman G. Cristobal worked as a figurative artist for ten years in various cinema advertising companies. It was in 1983 when he became serious in painting and started joining prestigious art competitions and exhibitions. In 1995 he joined a four men art exhibition at Kent Gallery in Makati City which paved the way to more art exhibitions in various art galleries.

Year 2004 saw the highlight of Norman’s career as an artist when he held his One Man Exhibit at the Philippine Children’s Medical Center. It was also on the same year that he was commissioned by the same hospital to restore its lobby mural painting.

Although Norman’s style in painting has changed over the years, from cubism in his early works to more modern, textured artworks in keeping with the times, the sense of grace and realism is still there, looking at his works.

January 16, 2018 is a remarkable moment in Norman’s life as an artist, having been selected as the Featured Artist of the Month by Puno Art Gallery and Art Association of Novaliches. As such, he was given the special privilege of holding a One Man Exhibit.

At 64, Norman is at the thick of his career as an artist, with more art exhibitions and paintings in the works. For Norman, his successful journey in the field of arts has just begun.

At present, Norman G. Cristobal is a regular commission artist at Happy Planet in Boracay, Aklan.

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Fisherman 18in x 24in Acrylic on Canvas

Woman with Papaya 20in x 30in Acrylic on Canvas.

Mother and Child 24in x 36in Acrylic on canvas

Woman with Guitar 20in x 30in Acrylic on canvas

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Why Focal

Points in

Painting by: Lisa Marder Updated February 05, 2019

Are so

Important

The focal point of a painting is an area of emphasis that demands the most attention and to which the viewer's eye is drawn, pulling it into the painting. It is like the bullseye on a target, although not as overt. It is how the artist draws attention to the particular content of the painting and is often the most important element of the painting. The focal point should be based on the artist's intent, the reason for doing the painting, so should be determined early in the process.

meaning of the painting. It should not be left up to the viewer to guess what the focal point is.

A focal point helps to tell the viewer the story of a painting, what is important about the painting, and to give dramatic impact to a painting. Multiple focal points can lead the viewer's gaze in, through, and around the painting, providing areas for the eyes to pause for a moment, allowing time to digest the scene and contemplate the work. Multiple focal points also provide a rhythm to the painting.

Most representational paintings have at least one focal point but can have up to three focal points within the painting. One focal point is usually dominant. This is the focal point that is the strongest, with the greatest visual weight. The second focal point is sub-dominant, the third is subordinate. Beyond that number, it can begin to get confusing. Paintings without a focal point tend not to have many variations—some are based more on a pattern. For example, many of Jackson Pollock's later paintings, in which he paints with a lyrical sequence of drips, do not have a focal point.

There doesn't need to be a specific focal point if the subject itself is the focal point, for example in a portrait painting. In that case, eyes are often the focal point, along with specific detail, as in Vermeer's The Girl With a Pearl Earring. Creating focal points gives you as the artist more control over how your artwork is viewed and perceived.

When doing a painting it helps to ask yourself three questions: Why am I doing this painting? What is it about this scene that is most important to me? What is the effect that I am trying to achieve? Answering these questions will help you define and maintain your focal point. It is often worthwhile returning to these questions while you paint.

Focal points are based on the physiology of vision, the process by which humans actually see, which allows us to focus on only one thing visually at a time. Everything else beyond the center of our cone of vision is out of focus, with soft edges, and only partially discernible.

How to Create Focal Points

Purpose of Focal Points

The elements and principles of design work together to help create and define the focal point. Any of the elements of art—line, shape, color, value, form, texture, and space—can contribute to defining the focal point in conjunction with the principles of art—balance, contrast, emphasis, movement, pattern, rhythm, and unity/variety.

Focal points help to give a painting meaning and convey the intent of the artist. It is the artist's responsibility to determine what the focal point is and to manipulate the colors, values, and composition to create a focal point that adds to the 22 21

Where to Locate the Focal Point

Composition, how the elements and principles of artwork together to form the structure of the painting, is important in manipulating the viewer's gaze around the painting. The composition can help define the focal point and a focal point can strengthen the composition. They work interdependently to create visual weight.

You generally want the focal point to be located well within the picture frame in order to bring the viewer's eye into the painting, but not necessarily right in the center, although there are times for that as well.

Actual and implied lines can direct the viewer's gaze to the focal point. Diagonal lines are particularly effective because they are more dynamic than vertical and horizontal lines and tend to swiftly carry the viewer's eye into the painting.

The Rule of Thirds is a widely-used compositional guideline for locating the focal point. The focal point should be placed at one of the intersections of the grid lines of an imagined tictac-toe grid placed over your painting, about one-third in from any edge of the painting. Using the Rule of Thirds will assure you of a composition that is pleasing to the eye.

Lines that converge, like railroad tracks heading into the distance, will lead your eye to a focal point.

Compositional shapes within a standard rectangular format which can help you determine where to put your focal point include a triangle, an oval, a smaller rectangle, and an "s" in a vertical orientation. Locating the focal point near the top right of the composition—either in the top right of the rectangle or in the top apex of the triangle, with a slight bias towards the right of the composition—is generally pleasing to viewers in Western cultures who are used to reading from left to right.

Contrast is very important, too. The viewer's eye usually goes first to the area of greatest contrast in a painting. This is where the focal point often is. The contrast in value (dark against the light) is the most noticeable, but the contrast in colors, shapes, color temperature or textures can also be distinctive and attract the viewer's eye.

Tips

Complementary colors will attract the viewer's gaze, particularly if they are saturated. Cropping your subject as a camera does, and getting in close to it so that it becomes large and fills the canvas, emphasizes your subject and gives it visual weight, making it the focal point of your painting.

One way to test where the focal point in a painting is located is to close your eyes and then to slowly open them, noticing where your eye is first drawn to in the painting. To determine whether you have any elements in your painting that are distracting from the focal point, stare at the focal point for a minute and, without moving your eyes, see if there is anything else in the painting that is competing for its attention and pulling your eye towards it. If so, then either remove that element or tone it down so that it stands out less from its context.

Framing something helps to identify it as a focal point, either in a literal frame, such as a door or window frame, or framed by tree branches or other elements. Hard edges are more noticeable than soft edges. They appear to be "in focus" rather than "out of focus." If you want to emphasize something, harden the edge; if you want to de-emphasize something, soften the edge. Hard and soft edges are also known as lost and found edges.

Remember to provide a place for the viewer to rest their eyes.

Not all parts of the painting should be equally complex or detailed. You want to avoid making your painting look too busy. Think about balancing negative and positive spaces.

A focal point should have more detail than other elements within the painting to give it visual weight. Color temperature is important. Warm colors tend to come forward, and cool colors tend to recede. This can be used to define a focal point by creating contrast in color temperature in a painting.

Yellows and reds attract the eye first.

Don't give the viewer too much information with too much detail. Limit detail to the focal point. Let the viewer fill in part of the story. This helps to create mystery and intrigue. A focal point, or multiple focal points, should help tell the story of the painting, but not all the story. To make a great painting it is also important to engage the imagination of the viewer.

If you include people in a painting, no matter how small, they will become the focal point. Placing something unusual within a scene will make it a focal point as well. For example, a single square in a pattern of circles will stand out, and vice versa; or a red mark in a field of another color. Anything that is an anomaly will stand out to the viewer's eye.

Source: Jennings, Simon, The Complete Artists Manual, Chronicle Books, San Francisco, 2014, p. 230.

Conversely, isolating something from a scene will make it a focal point. Balancing a cluster of circles in one part of a painting with a single circle in another part will make the isolated circle stand out as a focal point. Anything that is not part of the area of emphasis or focal point should be painted in a manner that does not draw attention to it: softer edges, more neutral colors, less contrast.

Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields, Gateways to Art: Understanding the Visual Arts, Thames & Hudson.

Jennings, Simon, The Complete Artists Manual, Chronicle Books, San Francisco, 2014.

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Roy Espinosa / Blue Princess Series 16 / Acrylic on Canvas / 36in x 24in

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What Is Meant by "Emphasis" in Art? An Artist Can Direct Your Eye Anywhere by: Shelley Esaak Updated January 06, 2019

Michael H/ Digital Vision/ Getty Images

Emphasis is a principle of art which occurs any time an element of a piece is given dominance by the artist. In other words, the artist makes part of the work stand out in order to draw the viewer's eye there first.

Why Is Emphasis Important?

Emphasis is used in art to attract the viewer's attention to a particular area or object. This is typically the focal point or main subject of the artwork. For instance, in a portrait painting, the artist usually wants you to see the person's face first.

They will use techniques such as color, contrast, and placement to make sure that this area is where your eye is attracted to first.

Any piece of art may have more than one area of emphasis. However, one typically dominates over all others. If two or more are given equal importance, your eye does not know how to interpret it. This confusion may lead you to not enjoy an otherwise good piece of work.

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Subordination is used to describe the secondary or accent elements of the artwork.

While artists emphasize the focal point, they can also de-emphasize the other elements to ensure the main subject stands out. An artist may, for instance, use red on the subject while leaving the rest of the painting in very muted browns. The viewer's eye is automatically drawn to this pop of color.

One might argue that all worthy works of art employ emphasis. If a piece lacks this principle, it may seem monotonous and boring to the eye. However, some artists play with the lack of emphasis on purpose and use it to create a visually impactful piece.

Andy Warhol's "Campbell's Soup Cans" (1961) are a perfect example of the lack of emphasis. When the series of canvases are hung on the wall, the entire assembly lacks any real subject. Yet, the magnitude of the collection's repetition leaves an impression nonetheless.

How Artists Add Emphasis Frequently, an emphasis is achieved by means of contrast. Contrast can be achieved in a variety of ways and artists often employ more than one technique in a single piece.

A contrast in color, value, and texture can certainly draw you to a particular area.

Likewise, when one object is significantly larger or in the foreground, it becomes the focal point because the perspective or depth draw us in.

Many artists will also strategically place their subject in the composition in areas that are known to attract attention. That may be directly in the center, but more often than not it is off to one side or another. It might also be isolated from other elements through placement, tone, or depth.

Yet another way to add emphasis is to use repetition. If you have a series of similar elements then interrupt that pattern in some way, that naturally gets noticed.

Looking for Emphasis As you study art, remain mindful of emphasis. Look at how each piece of art naturally directs your eye around the piece. What techniques did the artist use to achieve this? What did they want you to see at first glance?

Sometimes the emphasis is very subtle and at other times it is anything but. These are the little surprises that artists leave us and discovering them are what makes creative works so interesting.

Lloyd Lusica / Woman Nature / 36in x 36in / Acrylic on Canvas

What Is the Definition of Texture in Art? by : Shelley Esaak Updated March 27, 2018

Jody Dole/ The Image Bank/ Getty Images

Texture is one of seven elements of art. It is used to describe the way a three-dimensional work actually feels when touched. In two-dimensional work, such as painting, it may refer to the visual "feel" of a piece.

Take rocks, for example. A real rock might feel rough or smooth and it definitely feels hard when touched or picked up. A painter depicting a rock would create the illusions of these qualities through the use of other elements of art such as color, line, and shape.

Understanding Texture in Art

Textures are described by a whole host of adjectives. Rough and smooth are two of the most common, but they can be further defined. You might also hear words like coarse, bumpy, rugged, fluffy, lumpy, or pebbly when referring to a rough surface. For smooth surfaces, words like polished, velvety, slick, flat, and even can be used.

At its most basic, texture is defined as a tactile quality of an object's surface. It appeals to our sense of touch, which can evoke feelings of pleasure, discomfort, or familiarity. Artists use this knowledge to elicit emotional responses from people who view their work. The reasons for doing so vary greatly, but texture is a fundamental element in many pieces of art.

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Texture in Three-Dimensional Art

In painting, drawing, and printmaking, an artist often implies texture through the use of brushstrokes lines as seen in crosshatching. When working with the impasto painting technique or with collage, the texture can be very real and dynamic.

Three-dimensional artwork relies on texture and you cannot find a piece of sculpture or pottery that does not include it.

Fundamentally, the materials used give a piece of art texture.

That may be marble, bronze, clay, metal, or wood, but this sets the foundation for the work feels if it were touched.

Watercolor painter, Margaret Roseman, said, "I aim for an abstract element of a realistic subject and use texture to add interest and suggest depth." This sums up the way many two-dimensional artists feel about texture.

As the artist develops a piece of work, they can add more texture through technique. One might sand, polish, or buff a surface smooth or they might give it a patina, bleach it, gouge it, or otherwise rough it up.

Texture is something that artists can play with through the manipulation of their medium and materials. For instance, you can draw a rose on a rough textured paper and it won't have the softness of one drawn on a smooth surface.

Likewise, some artists use less gesso to prime canvas because they want that texture to show through the paint they apply to it.

Many times you will see texture used in patterns such a series of intersecting diagonals lines that give a surface a basketweave look. Rectangles staggered in rows offer the texture of a brick pattern and concentric, irregular ellipses may imitate the texture of wood grain.

Texture Is Everywhere Three-dimensional artists often use a contrast of texture as well. One element of an artwork may be smooth as glass while another element is rough and mangled. This contradiction adds to the impact of the work and can help convey their message just as strongly as a piece made of one uniform texture.

As in art, you can see texture everywhere. To begin to correlate reality with the artwork you see or create, take the time to really notice the textures around you. The smooth leather of your chair, the coarse grains of the carpet, and the fluffy softness of the clouds in the sky all invoke feelings.

Texture in Two-Dimensional Art

As artists and those who appreciate it, regular exercise in recognizing texture can do wonders for your experience.

Artists working in a two-dimensional medium also work with texture and the texture may either be real or implied.

Photographers, for instance, almost always work with the reality of texture when creating art. Yet, they can enhance or downplay that through the manipulation of light and angle.

Mylene Quito Flamboyant Acrylic on Canvas 16in x 16in 29

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TIST ATEMENT ARTIST STATEMENT

As an International Filipino contemporary artist based in Paris it inevitable that my subject matter lives at the nexus of Europe and Southeast Asia. That said, my sincere hope is that it touches (occasionally cuts) at a universal level in a way that is not slavish to origins or national boundaries.

My time in Paris has reinforced my belief that French artists struggle to shed the magnetic force of impressionism. It still informs their work to this day. Similarly, Filipinos have a hard times shedding their own, but I feel that my work tries to create a distance.

When viewers observe at my work, I want them to be uncomfortable not in a naive attempt to shock or horrify, but to always remind them of what might be lurking around the corner of all the visual information that they have downloaded into their brains over the course of their busy days. I want them to be reflecting on my work when their heads hit their pillows. I want to tickle their curiosity and provide a clean window through which they see and interpret the real world.

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ABOUT TH ABOUT THE ARTIST

Allenrey “Migz” Salazar is an international Filipino contemporary artist. His work rests at the nexus of hard and soft, clean and dirty... it captures the plight of the individual struggle, faith, ecstasy and the frailty of humankind. There’s nothing about the images of his works that is harmoniously beautiful by any conventional standards. Salazar wanted the viewer to stuck with the image as profoundly, resonant image that will not deliver its real physical meaning, it is against narrative and probably against interpretation; it’s pre allegory and metaphor.

After moving to Germany and Paris from Manila more than a decade ago, Allenrey “Migz” Salazar is among the few international Filipino contemporary artists who live their passion for art in Paris.

His recent body of works is a radical departure from abstract to cataclysmic biblical iconography with secular socio-religious and political narrative, a visual satire in his creative piece. His works elucidate current socio-political concerns dealing with matters of human condition, revealing plight of individuals-struggle, faith, ecstasy and doom in mankind.

However with his craft, Salazar’s works involved in a cultural rebellion - a connection of social and political revolution from mind to mind. Salazar conducted brief studies of Fine Arts in Ecole National des Beaux-Art in Paris, though simultaneously exploring passionately other mediums.

For more than a decade, he has produced a diverse body of works in painting, sculpture, photography and other medium. He is amongst the most active international Filipino contemporary artist in Europe, with solo exhibitions hosted mainly in France, Italy and Argentina.

Furthermore, he brings unique perspective, creativity and passion to all that he does. He lives and works in Paris.

by Angus Morrison

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HE ARTIST ABOUT THE AUTHOR

Angus Morrison, author of the financial and technology thriller, Bandwidth, @bandwidthbook.com and Wavelenght@ www.amazon.com/Wavelength-Angus-Morrison.

He has been a Pulitzer nominated financial journalist for Bloomberg News, and has written for The International Herald Tribune, The New York Observer and the Globalist. He lives with his wife and son in Paris.

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Paris-Based Filipino Artist Garners Prestigious Awards Marilyn Paed-Rayray. ABS-CBN Europe- News Bureau

Salazar is the first Filipino to receive award from the prestigious international art association, which recognizes works in art. science and culture. His recent participation in the Florence Biennale in 2015 and 2017 and the Anima Mundi Venice Arte Biennale in 2017 paved the way for him to be invited by the jury to participate in the aforementioned competitions.

PARIS, France - Filipino artist Allanrey �Migz�Salazar has won The Pablo Picasso International Art Prize at L'Accademia Italia in Arte Nel Mondo Associazione Culturale or The Italian Academy of Art in the World Cultural Association for his painting Cradle - Land That I Know.' The winning piece shows the Philippine map with metal bolts connecting each island. It also depicts figures that appear to emerge from his love for his homeland. Prior to winning the Pablo Picasso prize, he also won the 2018 Julius Caesar imperator In Brindisi, Italy.

Besting more than 2,000 artists from around the world, Salazar is the first and only Filipino to be awarded 5 34

consecutive European Contemporary Awards: Emperor Julius Caesar 2018, Pablo Picasso 2019, Marie-Francois Arouet “Voltair” 2019, Arts for Human Rights 2019 and Honorary member title from L’Accademia Italia in Arte Nel Mondo Associazione Culturale.

Salazar’s Paris-based friend and contemporary Nior Salonga said of his accomplishment: “I’m very happy for him, I’m very proud. Matagal na kaming magkaibigan ni Migz so I support him. Nakakainspire at mas motivated lalo pag your’re with him dahil yung mga Filipino nakikita yung achievements nya. Nababalitaan so naiinspire na sila, so how much more kung lagi akong kasama niya tapos nabibigyan pa nya ko ng advice”.

An overwhelmed and ecstatic Salazar believes that Filipinos shine internationally not just in art but also in music, film, and poetry. “Kahit wala pa ako sa field na ito, maraming nauna sa akin na they keep breaking the ice. Yun yung nakakainspire and this inspiration will keep us going na mga international artists based in different parts of the globe” said Salazar.

“Hindi natatapos doon for me as an artist at bilang alagad ng sining. Artists must go beyond their canvas. There must be an advocacy so the legacy will continue so I need to help other artists also - Filipino artists here in Europe and also in other parts of the world, especially sa Pilipinas. So yun ang kailangang ipagpatuloy, Kailangan nating i-promote still our Filipino art and culture

Salazar has been living in Paris for almost two decades. He started his career as contemporary visual artist. He studied at L’ Ecole Nationale Superieure des Beaux-Arts de Paris (National School for Fine Arts in Paris) and his work mostly tackle current socio-political concerns, the human condition and religion.

This year Salazar has scheduled exhibits in Paris, Milan, Barcelona Biennale, Singapore, Brunei and Manila.

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BOROBUDUR TODAY Balance in Limanjawi Rain Rosidi Which is close to Borobudur: A blessing and a temptation for The Artists The second "Borobudur Today" art event will be held last 2 years ago. On March 18, 2017, Limanjawi Art House in collaboration with KSBI15 will play host to around 60 artists, who come from various regions around Borobudur, from Jogjakarta, Magelang to Wonosobo.

Borobudur Today is the annual arts event in Limanjawi Art House, one of the most dynamic art space located near Borobudur. Umar Chusaeni as the owner of the space said that he has a vision to expand the scale of artistic activities in the region and also in Magelang Borobudur in general, through this event. He created this event as an annual event that is worth waiting for art lovers.

In recent years, vibration art movement did not go well, as when we compare it to Yogyakarta, which is recognized to be the City of Culture and Art. Adjacent to one of the cities with the dynamics and dynamic history of modern art makes the surrounding towns grew awkwardness. That's what happened around the city of Yogyakarta.

The history of modern art in Yogyakarta is confirmed also by the presence of the first fine arts academy in the country, namely ASRI. Artists who previously confirmed their presence through sanggar pioneered the establishment of the Academy of Arts. In the presence of their higher education, the city of Yogyakarta increasingly has a major role in developing the art, especially modern art. Not only become a magnet for artists to come and work there, but also administratively capable of producing an arts degree with a formal certificate. But the development of art is not only

Borobudur has many local artists, most of them working to make paintings and sculptures.

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Outside the artists that provide objects for the needs of tourism, development of art outside the city’s network (excluding Yogyakarta) life by the painter who lives in the villages. As a branch of art, painting becomes one branch of art that lives in villages. Uniquely painting that spreads it has the same medium as those made in the city that paints on canvas. The area outside Yogyakarta, such Wonosobo, Klaten, Magelang and surrounding areas, many have painters who are still struggling with the canvas material to this day.

happening in one line of history only. Outside the network of art education, art developments also occur with different dynamics. Practicing the art of living tradition and support the people began to be abandoned, due to several reasons, including the emergence of industrial products, advances in communications technology, and cross-cultural impact of increasingly aggressive. The artists in the countryside, who originally worked for the needs of the surrounding community, began to lose the role.

Residents in surrounding areas choose to consume artificial objects leave the industrial plant and products made by local artisans. In the end, the artists in the village began to think about the target distribution works almost the same with the city education artists those buyers who use the products of art as home decor, and the pride of life style. Artist targeted tourists as their potential buyers for their collecting art works. They switched from the makers of art objects for people into the art products provider for tourists.

Not to be traced, where the tradition of paintings (on canvas) began to appear in small towns around the cities of the ancient art centers such as Yogyakarta. Yogyakarta can be considered to have an advantage, because since colonial times has become a magnet for art enthusiasts to live and work there, until the advent of the first fine arts academy in the Republic of Indonesia (ASRI). But in other cities in the surrounding area, the painters also maintain its own existence. They lived together and fused with other residents, by profession a more general, such as employees, farmers, or merchants. Most of them are painting a landscape or a traditional theme, like wayang. Interestingly, the painters maintain their presence with the occasional get together and build their own forum, either to exchange experiences, and heaved the exhibition. In livelihood more challenging 'common' that they face are not the discourse of modern art or contemporary, but how far they were able to revive the artistic profession rice pot in the kitchen. Than for example those who studied art in Yogyakarta, with a discussion of the frenetic art of "looking Indonesianity in the art of dealing with the idea of art as the heirs of world culture" (for example), they can be regarded as "other".

The tourism industries make development more dominate art production to serve tourists. They made production of various works of art that are massproduced as craft objects. It is beneficial for the artists in the area of economics, but the unfavorable development of the discourse of art, including a discussion of what can be done by art, cultural identity, and the problem of media development of art in itself.

The artist is an artist who lives in Borobudur have a problem that is somewhat different from the artists in Yogyakarta. They are faced with strong tourism activity impacts their actions. The area surrounding the Borobudur is a rural area that does not have a lot of space and art events outside the commodification of art practice.

Sanento Yuliman, art critic in Indonesia had a view that transcends time about the existence of art in Indonesia. In the late 1980s, when modern art was still regarded as the soul of the development of art in general, Sanento already believe that the development of art in Indonesia is not single.

Sanento distinguish two fine arts, art is high art and low art.

High art above is what we know as art crisscrossed art galleries, museums and auction houses. Usually the art produced by the upper middle class, formal education in modern art education. Distribution is also exclusive to the upper class with relatively expensive price. Sanento many mentions examples of painting and sculpture as an art form in. Low art is the art produced, distributed, and consumed by the lower classes of society. Usually the simplest form.

When passing through the area around Muntilan from Yogyakarta to Borobudur, we will find an interesting view of the statue of stone sculptures of local sculptor's work along the way. Their work generally takes the idea of Borobudur temple in the vicinity.

Buddha statue into a dish that is almost found in all vending stalls stone statue, beside the statue Gupala.

Each store has the same sculpture with statues in the store next to it. This contrasts with the modern sculptor care of the art campus. They are asked to always explore the uniqueness, and indoctrinated to be different from other artists. If they did the same ways with other artists, then the value of its uniqueness will be reduced.

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made from local, low standards of quality and cheap price.

Examples are the works of craft objects mass produced to serve the consumer society.

In the context of the dynamics of such art, Limanjawi Art House came as a counterweight to the dynamics of the development of art, Borobudur is happening at almost the same in other areas, where space and arts action does not have a circuit that is more dynamic, like the city of Yogyakarta or Jakarta or Bandung. Outside the affairs of the art market, artists' area does not have enough space and time to hold another discourse. The need to open up discussions about various things in art needs space and organizing the event, such as Borobudur Today was initiated by Limanjawi Art House. This role will be able to make a positive contribution to the development of art in Borobudur. It takes a role that can open up more possibilities for the production of art in the area, while providing a variety of attractions for travelers who need the spectacle of an art exhibition.

In this context, an artist who lives and works near Borobudur has two things at once, which can be considered a blessing as well as a test. Blessings in question is a tourist who continuously throughout the year, making consumer products art will never be reduced. But on the other hand the artists can also find suppress creativity because of the pressure that affects the tourism industry as well as the type of work and style of what is attractive to tourists.

Limanjawi, Initiating Space Considering Infra Structure

The annual event "Borobudur Today" this is already the third time, be evidence of the seriousness Limanjawi, KSBI15 and local communities to build artistic discourse in Borobudur.

About 64 invited artists, not only of Borobudur, attended the exhibition but also from Yogyakarta, Wonosobo, Magelang, and surrounding areas. The artists were invited to also crossborder generation, of which senior like Kartika Affandi, for artists who are still pioneering arts education on campus. The artists invited are expected to give the dish works vary so as to provide inspiration for artists and art lovers in Borobudur.

In addition, at the opening of an art exhibition held also involves local artists around Borobudur. In this way, the dynamics of the art at Borobudur can continue to writhe, because today is the artistic attractions require a good network in managing and presenting it to the audience. The exhibition also marks the launch of a new use of the space that belonged to Limanjawi Art House. Next to the old building houses an art, now standing with a magnificent new building Limanjawi Art House. For Umar Chusaeni, as the originator of the art house, the construction of this new art space as evidence of the seriousness Limanjawi Art House in developing the artistic discourse in Borobudur. It's potential and an important contribution to the development of the art infrastructure in Borobudur particularly and in Magelang generally.

One interesting development in Indonesia a few years is the emergence of many art spaces initiated by individuals, especially by artists. These spaces are different in character to the commercial art gallery that grows mainly in Jakarta that promotes the business of selling the artwork.

Because initiated by the offender, whether artists or art lovers (cultural activist), then the image they want served not only sell the products of art, but also as a meeting space with a community of artists. The room was initiated by artists played a major role in building the infrastructure of art in the city where they live. They do art activities that directly or indirectly play a role in building the image of their city or region. This happens because many cities in Indonesia has not had a formal art space state, so the role of the individual as practiced by Limanjawi Art House be important in building infrastructure, especially in the art of Borobudur.

The role of art spaces as it is also to continue what the previous maestro artists who chose to bequeath the art museum for public. In contrast to the role of museums, art space, which was initiated by the artist, can be dynamically accommodate the development of the art world. So that the dynamics of art grew in the vicinity of Borobudur and can be performed by Limanjawi Art House and discuses them as part of our cultural practices.

Borobudur, the development of art is not only happening in the discourse of art developed from the main network of modern art, such as an art academy and a network of museums and art galleries. The roles of the tourism industry also have an impact on the selection of art practices developed by artists in the area. Moreover, more open artistic discourse also needs space and forum for holding and discussion. In fact, the area of today's art has evolved beyond mere art production problems. Art is also linked with livelihood and culture in general.

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Words to Describe by: Marion Boddy-Evans Updated December 05, 2018

Art

valentinrussanov/Getty Images

To talk about paintings and art in general, you need the vocabulary to describe, analyze, and interpret what you're seeing.

Thinking of the right words becomes easier the more art terms you know, which is where this list comes in. The idea isn't to sit and memorize it, but if you consult the word bank regularly, you'll start to remember more and more terms.

The list is organized by topic. First, find the aspect of a painting you wish to talk about (the colors, for instance), and then see which words match or fit with what you're thinking. Start by putting your thoughts into a simple sentence such as this: The [aspect] is [quality]. For example, The colors are vivid or The composition is horizontal. It'll probably feel awkward at first, but with practice, you'll find it gets easier and more natural, and you'll eventually be able to produce more complicated sentences.

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Color

Chris Rose/Photodisc/Getty Images

Think about your overall impression of the colors used in the painting, how they look and feel, how the colors work together (or not), how they fit with the subject of the painting, and how the artist has mixed them (or not). Are there any specific colors or color palettes you can identify?

- Natural, clear, compatible, distinctive, lively, stimulating, subtle, sympathetic - Artificial, clashing, depressing, discordant, garish, gaudy, jarring, unfriendly, violent - Bright, brilliant, deep, earthy, harmonious, intense, rich, saturated, strong, vibrant, vivid - Dull, flat, insipid, pale, mellow, muted, subdued, quiet, weak - Cool, cold, warm, hot, light, dark - Blended, broken, mixed, muddled, muddied, pure - Complementary, contrasting, harmonious

Tone Don't forget to consider the tone or values of the colors, too, plus the way tone is used in the painting as a whole.

- Dark, light, mid (middle) - Flat, uniform, unvarying, smooth, plain - Varied, broken - Constant, changing - Graduated, contrasting - Monochromatic 46

Composition Look at how the elements in the painting are arranged, the underlying structure (shapes) and relationships between the different parts, and how your eye moves around the composition.

- Arrangement, layout, structure, position - Landscape format, portrait format, square format, circular, triangular - Horizontal, vertical, diagonal, angled Foreground, background, middle ground - Centered, asymmetrical, symmetrical, balanced, unbalanced, lopsided, off-center - Overlapping, cluttered, chaotic - Separate, spacious, empty - Free, flowing, fragmented - Formal, rigid, upright, confined - Negative space, positive space Print Collector / Getty Images

Texture It's often hard or impossible to see texture in a photo of a painting, as it doesn't show unless there's light shining in from the side that catches the ridges and casts small shadows. Don't guess; if you don't see any texture, don't try to talk about it in that particular painting.

- Flat, polished, smooth - Raised, rough, coarse - Cut, incised, pitted, scratched, uneven - Hairy, sticky - Soft, hard - Shiny, glossy, reflective - Semigloss, satin, silk, frosted, matte Wendy Thorley-Ryder / EyeEm / Getty Images

Mark Making You may not be able to see any details of the brushwork or mark making if it's a small painting. Remember that in some styles of painting, all brush marks are carefully eliminated by the artist. In others, the marks are clearly visible.

- Visible, impasto, blended, smooth - Thick, thin - Bold, timid - Heavy, light - Edgy, smooth - Exhibiting glazes, washes, scumbling, dry brushing, stippling, hatching, splatters - Layered, flat - Precise, refined, regular, straight, systematic - Quick, sketchy, uneven, irregular, vigorous - Regular, patterned - Exhibiting marks made with a knife, brush

Frederic Cirou / Getty Image 47

Mood or Atmosphere What is the mood or atmosphere of the painting? What emotions do you experience looking at it?

- Calm, content, peaceful, relaxed, tranquil - Cheerful, happy, joyful, romantic - Depressed, gloomy, miserable, sad, somber, tearful, unhappy - Aggressive, angry, chilling, dark, distressing, frightening, violent - Energetic, exciting, stimulating, thought-provoking - Boring, dull, lifeless, insipid

De Agostini Picture Library / Getty Images

Form and Shape Think about the overall shapes in the artwork and the way forms (things) are depicted. What sense of depth and volume is there?

- 2-D, flat, abstracted, simplified, stylized - 3-D, realistic, natural sense of depth and space - Sharp, detailed - Blurred, obscured, overlapping, indistinct - Distorted, exaggerated, geometric Linear, long, narrow - Hard-edged, soft-edged

Zetpe0202/Wikimedia Commons/Public Domain

Lighting Look at the lighting in the painting, not only in terms of the direction it is coming from and how it creates shadows but also its color, its intensity, the mood it creates, whether it is natural (from the sun) or artificial (from a light, fire, or candle). Make sure to describe the shadows and the highlights as well.

Heritage Images/Getty Images

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- Backlit, front lit, side lit, top lit - Having indirect light, reflected light, no directional light - source - Natural - Artificial - Cool, blue, gray - Warm, yellow, red - Dim, faint, gentle, gloomy, low, minimal, muted, soft - Clear, brilliant, bright, glowing, fiery, harsh, intense, sharp

Viewpoint and Pose Consider the angle or position from which we're seeing the subject of the artwork. How has the artist decided to present it? What is the perspective?

- Front, side, three-quarters, profile, rear (from behind) - Close up, far away, life-size, bird's eye view - Upward, downward, sideways - Standing, sitting, lying down, bending - Gesturing, moving, resting, static

DEA PICTURE LIBRARY / Getty Images

Subject Matter This aspect of a painting is one where it can really seem like you're stating the obvious. But if you think of how you'd describe an artwork to someone who has not seen it or who isn't looking at a photo of it, you'd probably tell them the subject of the painting quite early on.

- Abstract - Cityscape, buildings, man-made, urban, industrial - Fantasy, imaginary, invented, mythological - Figurative (figures), portraits - Interiors, domestic - Landscape, seascape - Still life

Claude Monet / Getty Images

Still Life Before you begin describing the individual objects in a still life painting, whether they're themed, related, or dissimilar, look at them overall and describe this aspect.

- Antique, battered, damaged, dusty, old, worn - New, clean, shiny - Functional, decorative, fancy - Domestic, humble - Commercial, industrial

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Style Does the painting seem to fit a particular style or be reminiscent of a particular artist's work? There are many terms for different styles in the history of art, and these descriptors can create instant impressions.

- Realism, photorealism - Cubism, surrealism - Impressionism - Modernism, expressionism - Chinese, Japanese, or Indian style - Plein air

DEA / G. NIMATALLAH/Getty Images

Media If you know the medium in which a work was created or on what it was painted, that information can be useful to include in your description.

- Oil, tempera - Acrylics - Pastel, chalk, charcoal - Mixed media, collage - Watercolor, gouache - Ink - Fresco - Spray paint - Wood panels, canvas, glass

Dimitri Otis/Getty Images

Media Size may be relevant to your description if a work is particularly large or small. You can use exact dimensions, of course, as well as descriptive words.

- Mural - Miniature - Triptych

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Art Events

“A DREAM IN THE MIDST OF CHAOS.”

@ ALTRO MONDO CREATIVE SPACE ~ A Back-to-Back Exhibition with Contemporary Artist MIGZ SALAZAR In a nation fractured by our differences, do we still dare to dream?

This exhibition, “A DREAM IN THE MIDST OF CHAOS” explores the idea of dreaming as a collective act of hope.

As artists, we are called to bridge the distances that divide us. In turn, we invite the Filipino to dream amidst a chaotic landscape splintered by political and ideological upheavals.

As you walk through this space, you are asked to consider the multiple tensions between light and dark, growth and decay, life and death: for instance, a thicket of barren branches, stretched toward the heavens. Or skulls, overgrown with spores and vibrant moss.

This exhibit is an appeal to reframe our nation’s narrative of suffering and anger, to one of unity and peace. It entreats us to unclench our fists and fold them in prayer— or if you wish, clutch the hand of a lover. To dream once again, and rediscover our country’s soul, resplendent amidst the ephemeral transience of life.

By Maggie Costello

“Light in the Midst of Chaos” 6 feet x 11 feet

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Art Events

“Remarkable Imperfections” Kenneth John Montegrande 6th Solo Show

Abstractions Kenneth Montegrande in his solo show, Remarkable Imperfections, presents expressionism and Impressionism using acrylic paint on canvas. Montegrande lets the colors drop and allows “accidental movement” rather than totally manipulating them in order to find beauty in things that are flawed.

Senior master artists and collector friends of Kenneth John Montegrande join him to cut the ribbon and to officially launch his sixth solo show to the public dubbed REMARKABLE IMPERFECTIONS, held at the Altro Mondo Creative Space along Chino Roces Avenue, Makati City. From extreme left, Montegrande collector Mr. Ronald Garcia, De La Salle University Publishing House Executive Publisher Dr. David Jonathan Bayot, Manila-based Spanish Artist Betsy Westendorp de Brias, abstract cloudscape artist Tiny Nuyda, Montegrande, and Altro Mondo Creative Space Art Director and Owner Mr. Remigio David.

The Bayot family joins rising abstract painter-Kenneth John Montegrande during the opening night of his sixth solo show entitled REMARKABLE IMPERFECTIONS, held at the Altro Mondo Creative Space along Chino Roces Avenue, Makati City.

Kenneth Montegrande, together with his collectors, poses for photos in front of two 48”x60” artworks entitled “The Full Of Blessings Series 2” (L), and “Untitled”. These pieces have been acquired by collectors during the opening of Montegrande's show dubbed "REMARKABLE IMPERFECTIONS", held recently at the Altro Mondo Creative Space along Chino Roces Avenue, Makati City.

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Art Events "HAGOD"...a gentle stroke of brush...but in the works of Pancho Piano, "hagod" transcends the mere movement as the pieces created evoke more than just patterns and figures but splashes of memories that stirs the spirit and warms the heart.

Indeed, it is a showcase of Piano's colorful visual memoirs in rapturous explosion of fluid strokes rendered in a kaleidoscope of colors that intimates various emotions.

These are paintings suggestive of a sense of ethereality ..of sublimity...something that inspires that certain lightness of being.

These are paintings depicting the dynamics of blending a certain sense of poignancy and vibrancy, depending on the heady mood that one is bound to take as one wallows the eyes in the vividness of the pieces.

These are what Piano's paintings convey ..a playful play on emotions made manifest in colorful renditions...the deepest, innermost feelings that cannot be verbally articulated, only the deft hand of a master can truly express.

During the cutting of ribbon of Pancho Piano’s Hagod show in Okada with his guests of honor 53

Pancho Piano Poses with his Artwork

Pancho Piano Poses with some of his guests during the opening of his show in Okada

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Art Events Art Blast Art Exhibit Art Center / Sm Megamall April 13 , 2019 Opening Night With The Guests Of Honor : Ms Marie Pe Edgar Doctor Seb Chua Romeo Gutierrez Juno Galang Organized By Buds Convocar

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Art Events Prof. Romeo Gutierrez’s 39th solo exhibit was opened last April 5, 2019 Entitled “Figurative Abstraction 2019 LANDSCAPE” at Impressions Gallery, SM Megamall.

Awesome artworks from a veteran artist who's not only prolific and a master in his craft but who also has a good heart.

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Art Events

Kristo Angono, A Lenten Art Exhibit

by Grupo Sining Angono was opened last April 7, 2019 and will run through April 30, 2019 at the Artwalk of SM Center, Angono 57

Kim Mamaril / You can't buy her / 3ft x 2ft / Mixed Media

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Interpolation Dare to be different To interpolate is to introduce new matter of a different nature into something else; to interject or to alter that which already exist.

As the title suggest, this exhibition highlights the new connections created by the artists as they explore the world, and translate what they experienced, or are experiencing, into something tangible - the artworks - so as the world can understand and have a glimpse of what goes inside an artist's mind and soul.

Everyday, these artists find similar stories, ideas, and objects from different sources, and they bring these elements together to create new meanings, new interpretations - an interpolation.

The Guest of Honor Mr and Mrs Alex Tan

(L-R standing) Vern Pascual, Chai Soo, Kim Mamaril,Ismael Esber, Izhra Berida, Al Perez, Victor Puruganan, Eugenie Galeon, Charles Rivera, Viel Samaniego, Mark Anthony Talion Vinas, Yolee Mission, Mak Delos Santos (L-R seated) Domeng Cruz, Alex Tan, Roy Espinosa and Melli Villavicencio 59