RENATO HABULAN

http://lifestyle.inquirer.net/98927/pioneer-clay-artist-nelfa-querubin-
mounts-homecoming-exhibits-at-liongoren-ayala-izukan/RENATO HABULAN

 BIOGRAPHYTV
Renato Habulan is an artist born in Philippines, who is considered as one of the most
important figures in social realism in the 1970s and 1980s in his native country.
Emerging from the period of Martial Law in the Philippines, Habulan masterfully
presents the poignant human condition amidst varying themes of social justice and
religious imagery.

Background of Renato Habulan

Renato Rentoria Habulan was born in 1953 in Manila, and he graduated from the
University of the East School of Fine Arts in 1976. Coming from a working class family
in Tondo, he developed awareness of the deteriorating social conditions and struggle of
the workers. He was one of the major members of Kaisahan, a group of socially
committed artists during the period of dictatorship in the Philippines’ Martial Law era in
the 1970s. He is also a member of the Concerned Artists of the Philippines. Also an
award-winning watercolorist, Habulan represented the Philippines in the 1995 Cheju
Biennale, South Korea and cited as a Cultural Center of the Philippines 13 Artists
awardee in 1990.

Renato Habulan’s style

In his works, Renato Habulan constantly explores the dialectics where the master and
slave, native and colonial, lowlander and the ethnic collide in controlled tension. In the
transition of incorporating mixed media alongside his works in oil on canvas, the
sentimentality to the condition of man remains, as there continues to be a presence of
anonymous people who bear daily injustice with fortitude, dignity and indomitable hope
– as those who ‘stand erect amid the ruins’. The works attempt to ‘tell the stories of our
people and the triumph of the human spirit in their daily struggle,’ as the artist himself
states. Renato Habulan sought to portray the contrast between the rich and the poor
using realistic figurism by painting landlords and tenants, the poor and the deprived.
Even when he later shifted his themes from class struggle to the role of religion and
tradition, he still creates artworks in the premise of social justice.

Recent works

Recent boceto series of pen and ink drawings by Renato centers on a theme that the
artist has continually reflected on throughout his practice – seeking parallels between
the human condition and the suffering of Christ. The drawing series is a collection of
stories about the subaltern, reflecting on the contemporary experience of alienation by
also utilizing the iconography of Christian religious statuary. The format that Habulan
chooses—pen and ink—also speaks of his resolve to engage in representation. ‘Post-
modernism has rendered the wall-bound painting obsolete and narrative art as passé,
but I do not want my art to be reduced into an object or focus on the materiality of my
content,’ Habulan adds.

LINK: https://www.widewalls.ch/artist/renato-habulan/

Lamberto Hechanova

He held his first solo exhibition at the Northern Motors Showroom in 1966. He
represented the Philippines at the Sixth Paris Biennale in 1969. He is a
painter, printmaker, and sculptor. He introduce the combined use of
aluminum with wood and plexiglass in a series of innovative sculptures. He
won First Prize for “Perspectus” in 1967, and a major award for “Allegory in
Aluminum” in 1968 from the AAP. He won Fourth Prize for “Variety No. 1” and
Certificate of Merit for “The Final Agony” from Shell NSAC in 1966. He was
one of the recipients of the CCP Thirteen Artists Award in 1970.

https://philippinecenterny.com/artists/philippine-center-lamberto-hechanova/
 EUROPE

Quoted from a newspaper article in 1966, Bert set his goal to see the art world
someday: "The world is the artist's school. It is also his material- the beauty,
the spirit and the meaning it conveys. The artist's feelings are enhanced by
the influence of his surroundings. The accumulation of these influences
molds his experience- and reflects in his works. Thus, I feel I must detach
myself to the narrowness of my present surroundings. I must go to see the
world- with an open eye to observe, and an open heart to absorb and learn.
Then I hope I can become a true artist- not only in temperament but also in
experience."
Having won the 1968 Grand prize and Purchase Award in the First National Sculpture
Competition, Bert received a Travel Grant in 1969 where he was chosen to represent
the Philippines in Sculpture during the 6th Paris Biennale Art Expo in France.
He showcased his talent with three massive sculpture pieces entitled Transfiguration 1,
2 and 3 series, where he combined the elements of wood, metal and glass materials.
His exposure in several European art museums and the USA definitely widened his
artistic boundaries and absorbed every learning experience in global art's influx of
creative energy that came his way.
ABOUT THE ARTIST

"As early as 6 years old, I already knew I wanted to become an artist...", relayed by
the artist himself. Right from Bert's early childhood recollection as a 3 year
old child, fond memories of his past time was spent creating toys out of
found objects and most of his time sketching on their sandy soil backyard.
That early experience of creation and play led Bert to imagine his life's
calling, although not in his wildest dream did he expect the achievements he
will reach in the future.
BALTIMORE USA

While in Baltimore in 1971, he emerged victorious once again as he capped 5

prestigious awards in the same year, most notably the Award of Excellence in Painting
entitled 'Aberglaube', sponsored by the Baltimore Museum of Art. His talent continued
to shine in 1972 when he was rewarded with one of his most memorable moment -
a Governor's Award in Painting entitled 'Solaris Excello', from Baltimore Museum
of Art Annual Art Exhibition and Competition.
From the envelope sent by Baltimore Museum of Art, dated December 7, 1972,
Bert wrote a personal note in the envelope itself to relay his feelings at that very
moment upon receiving the letter:
" AWARD WINNER NOTICE: I've never been so thrilled and thankful because
the top award, Governor's Prize, was unreal, it was unbelievable but true. I
got the top award which every artist in Maryland crave and aspire for. Quite
a record in Maryland Annual Art & Science especially for an artist like me. It
is not the money really, but the satisfaction and fulfillment of one's
aspiration, a materialization of triumph, a great honour for my friends, my
people and my country, and to all the artists."

IN THE PHILIPPINES

Lamberto or 'Bert' as his friends call him, was born on March 29, 1939 from
Kabankalan, Negros Occidental province in the Philippines. His father Lamberto Sr, was
a School Principal in their hometown grade school, while his mother passed away at a
young age. His artistic passion was evident early on as noticed by his school teachers,
classmates and peers. He used to bring his own comic illustration pages in school where
one of his teacher fondly read them during class hours. Upon finishing High School in
Pavia Iloilo, he was awarded 'Artist of The Year' as he took the responsibility in
creating the yearly event stage decorations and school signages. Bert grew up assisting
his father with carpentry works from house building and repair, to designing float and
stage designs during their annual hometown fiestas and big events. Being the eldest
from the 6 siblings when his father re- married, he helped guide his brothers and a
sister with him when he decided to go to Manila to further his Degree in Fine Arts at
University of Santo Thomas. He was a self- made man as he juggled his busy time
to work from billboard and mural artist, to finishing his school requirements and
artworks. Bert also worked as an Artist in Advertising Agency where he quickly rose
from Art Director to Visual Creative Director in just a few years, and garnered the 1958
Advertising Award of Distinctive Merit from the Art Director's Club of the
Philippines. During 1965, he went to work overseas for a few months in an
Advertising Agency in Hongkong and his spare time was devoted to numerous on-the-
spot drawing sketches and watercolours of scenic landscapes. Upon his return, Bert
studied Graphic Arts and Printmaking at the Philippine Women's University
and eventually became a Professor at the Fine Arts department where
he received the Honor Certificate in Teaching, and was offered a Research Grant
for Sculpture.
The year 1966 was very memorable to Bert as he won multiple awards in various
national art competitions in the Philippines, particularly in the Professional division in
Painting category. His award winning entry in the 7th Annual Religious Art Competition,
entitled "The Last Supper" received First Prize and an overwhelming reaction
not only to the judging panel, priests, journalists and art critics but also to
the participating artists as Bert's approach was unique and unconventional -
an art assemblage masterpiece that was made out of found objects like tin cans, nails,
etc..."The highest merit in art form is when the artist transform something
out of nothing." as Bert explained. It was this experimental style of painting mixed
with sculpture that catapulted him to fame and opened a series of his sold out one-man
art exhibitions which dazzled the art circle in the Philippines during his time. It was also
this year when he continued to emerged consistently as perennial winners in both
Painting and Sculpture from the flourishing Philippine art scene.
LINK: https://www.hechanovanyc.com/about

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keyboardsvocals/

LUKE HILLSTEAD

Luke was born in 1982 in Minneapolis. In 2006 he left his work as a land surveyor and
began painting full time, with Rembrandt and Odd Nerdrum books open next to an
empty canvas. He immersed himself in apprenticeship, later studying with Nerdrum,
and traveled to museums and studios around the world to learn from the paintings of
the old Masters whose tradition he seeks to follow.

Using the palette of the Ancient Greek painter Apelles Luke paints friends and a
collection of taxidermied animals, illustrating the primal beauty of humans at their most
noble with narratives that center on themes of death, kinship, ritual, and wilderness.

Luke Hillestad is represented by The Rymer Gallery in Nashville, the L’oeil du Prince
Gallery in Paris, and Flanders and Rogue Buddha galleries in Minneapolis. His work has
also been exhibited in Florida, Chicago, Norway, and Germany.

uke Hillestad (American)

Born 1982, Minneapolis, MN

Lives and works in Minneapolis, MN

Luke Hillestad started his painting life in the classical figurative tradition in 2006 with Rembrandt and
Odd Nerdrum books open next to an empty canvas. He immersed himself in apprenticeship and traveled
to museums and studios around the world to learn from the paintings of the old Masters whose tradition
he seeks to follow. He then apprenticed with the world-renowned painter Odd Nerdrum in Norway and
Paris between 2008 and 2013. His palette of earth colors comes from the Ancient Greek Apelles – a
painter known for his grace. Working in this style Hillestad aims towards the primal beauty of humans at
their most noble, with narratives that center on themes of death, kinship, ritual, and wilderness.

Using the palette of the Ancient Greek painter Apelles Luke paints friends and a collection of taxidermied
animals, illustrating the primal beauty of humans at their most noble with narratives that center on themes
of death, kinship, ritual, and wilderness.

Luke Hillestad is represented by The Rymer Gallery in Nashville, the L'oeil du Prince Gallery in Paris,
and Flanders and Rogue Buddha galleries in Minneapolis. His work has also been exhibited in Florida,
Chicago, Norway, and Germany.

LINK: https://theoriginalvangoghsearanthology.com/2014/08/30/the-paintings-of-luke-
hillestad/

MICHELLE HOLLANES
Michelle Hollanes Lua is a Cagayan De Oro City based salvage artist and feminist activist
who specializes in creating art out of reclaimed materials.
Michelle Hollanes Lua is a sculptor, musician, a multimedia and a scavenger artist.
Her work focuses on social issues, realms and women empowerment. As a salvage
artist, Ms. Lua’s takes the discarded remains of the past and transforms them into art
that tells a story of the past, present and future. The purpose of Ms. Lua’s work is to
show that objects considered garbage by most re-envisioned into objects of interest,
desire and beauty.

LINK: https://jennysserendipity.com/2015/12/11/michelle-hollanes-lua-scavenger-artist-
sculptor/

ABDULMARI IMAO

National Artist for Visual Arts (2006)

(January 14, 1936 – December 16, 2014)
Abdulmari Asia Imao, a native of Sulu, is a sculptor, painter, photographer, ceramist,
documentary film maker, cultural researcher, writer, and articulator of Philippine Muslim
art and culture.

Through his works, the indigenous ukkil, sarimanok and naga motifs have been
popularized and instilled in the consciousness of the Filipino nation and other peoples as
original Filipino creations.

His U.P. art education introduced him to Filipino masters like Guillermo Tolentino and
Napoleon Abueva, who were among his mentors.

With his large-scale sculptures and monuments of Muslim and regional heroes and
leaders gracing selected sites from Batanes to Tawi-tawi, Imao has helped develop
among cultural groups trust and confidence necessary for the building of a more just
and humane society.

Selected works:

Industry Brass Mural, Philippine National Bank, San Fernando, La Union

Mural Relief on Filmmaking, Manila City Hall
Industrial Mural, Central Bank of the Philippines, San Fernando, La Union
Sulu Warriors (statues of Panglima Unaid and Captain Abdurahim Imao), 6 ft., Sulu
Provincial Capitol List of Awardees

LINK: http://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-
philippines/abdulmari-asia-imao/

MAGDIWANG JARDINIANO

Studied Fine Arts at the Philippine Womens University. Had held several
major and group exhibitions. A recipient of Metrobank Foundation National
Painting Competition
Award.
LINK: http://anting-anting.tripod.com/forces/id16.html
Geraldine Javier

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Born: 1970
Hometown: Philippines
Lives and Works: Philippines

Geraldine Javier was born in Manila, Philippines in 1970, and soon discovered and
distinguished her artistic potential in an art school. Although her talent quickly
made itself evident, Javier has held many solo and group exhibitions in her home
country since 1995. She was selected one of 13 top artists by the Cultural Center
of the Philippines, and she is recognized as one of the most celebrated Southeast
Asian artist both in the academic world and in the art field. The artist’s interest
lies on the universal world of spirituality rather than on a specific religion. Javier’s
interests root from the artist’s personal history of having lived her whole life
struggling with the catholic culture in the Philippines, and are manifested through
the unique region-specificity of Southeast Asia, in which the influx of Western
culture has been naturalized. In other words, Javier goes beyond the logic behind
religion, to pursue fundamental values that can be collectively embraced.

LINK: https://theartling.com/en/artists/geraldine-javier/

http://www.distinctionart.com/featured_n.php?artist=Jon%20Jaylo
Jon Jaylo
Jon Jaylo's artworks explore a parallel dream world in which
everything is ingeniously floating and dancing in a
contained universe inspired by dreams and poetry. His
pictorial depictions vary in style, technique, and
configuration as if he himself is never content with every
oeuvre that he has created. They are constantly evolving in
both idea and form, gradually ripening together with the
artist himself in space and time.

Scaling the aesthetic balance, he narrates deep

philosophical thoughts through an imaginative theatrical
play of elements, intensely opulent colors that indulge the
audience?s sophisticated palate, and presents an artistic
challenge for intellectual curiosity and gratification in his
compositions. Like dreams that reflect man's desires and
fantasies, his works are manifestations of profound
knowledge, empirical and metaphysical experience, and
ruminative visions here and beyond this world.

In a panoptic perspective, his works are gentle provocations

masked and laced with a dream-like spectacle, seductively
charming, and mystically inviting as if a puzzle to be solved
once the viewer goes inside them. They are not just mere
depictions of surreal elements, they are inspired by dreams,
subconscious thoughts, direct experiences, and, at times,
poignant stories about his family and close friends.

Well-researched and constructed, the general appeal of his

works is dashed with enigmatic relations between forms and
spatial contexts, penetrating the audience?s psyche with
mystical allure and reflective visual impressions, and that,
perhaps, is the wonder and beauty of Jon Jaylo?s art. And,
like any good story, he allows everyone to soak up and bring
out his or her own interpretation of his creation, establishing
an intimate rapport between the artist and his audience.

His works have been displayed at Strychnin Gallery Berlin,

 Primo Marella in Italy, Primae Noctis Switzerland, Sothebys
and Christies Auctions in HongKong and Taiwan, Artesan
Gallery Singapore, West Gallery & Ayala Museum
Philippines, Beinart Gallery Australia, Stephen Romano
Gallery New York, Copro Gallery, Distinction Gallery and
California Center for the Arts, USA.

Jon Jaylo's artworks play around a parallel dream world in where

everything is floating surreal and dancing in a contained universe
inspired by poetry. His technical depictions are often varying in
display and style, as if he himself is never contented with the present
stature of his works. They are constantly evolving in both idea and
form, gradually maturing together with the artist himself.Scaling this
balance, narrating a massively deep philosophy of thought through a
theatrical rendition of intensely brilliant colors that seem to amuse its
audience and present a status of intellectual complacency. Like
dreams that reflect a reversed mirror of man’s desires, fantasies,his
works are merely manifestations of knowledge, the metaphysics of his
own philosophy and the resolving of experiences behind and even far
beyond it.
http://artodyssey1.blogspot.com/2012/05/jon-jaylo.html

Jon Jaylo (born July 1975) (7.75)is a Filipino surrealist painter, now based in New York City, USA.
Jaylo is also known as "The Enigma" because of the surrealist nature of his art, inspired by dreamy
and puzzling poetry and stories.

Angelito Antonio “ Ang Kiukok”

Angelito Garcia Antonio (February 3, 1939)developed his own color schemes such as acidic yellow,
from black-and-white series. His subjects have been primarily folk genre such as cockfighters, vendors,
ice cream peddlers, and balloon sellers, which shows the influence of Manansala. Through the years, he
developed a style of his own. He is well regarded as a prime mover of action painting and the extension
of the cubist style in Philippine Art. His works suggest a sense of Manansala while portraying subjects
which are truly Filipino in
context, color, and flavor.

AWARDS

in the Shell National Students Art Competition

• The Beginning is Green,in 1958, third prize

• Kristo (Christ), in 1963, second prize
• Mag-iisda (Fish Seller), in 1963, certificate of merit

from the Art Association of the Philippines

• Mananahi (Seamstress), in 1962, third prize

• Deposition, in 1963, second prize
• He, in 1969, honorable mention
• Oracion (Evening Prayer), in 1970, first prize
• Procession, 1970, special award
• Pangarap sa Buhay, in 1972, major award

in the Travellers Life art competition, 1961, first prize

in the University of Sto Tomas 300th Anniversary, 1962, first prize

in the Travellers Art competition, in 1963, second prize

in the Philippine Airlines art contest, 1968, first prize

Thirteen Artist Award from the CCP in 1970

Patnubay ng Sining at Kalinangan Award by the City of Manila in 1984

http://www.gallerybig.com/gallerybigantonio.html

ARTURO LUZ
 LINK:
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43PM&itg=1&sa=X&ved=0ahUKEwj6zrvIocjZAhUCjLwKHSCXDv8Q_B0IlQEwCg

National Artist for Visual Arts (1997)

Arturo Luz, painter, sculptor, and designer for more than 40 years, created
masterpieces that exemplify an ideal of sublime austerity in expression and form. From
the Carnival series of the late 1950s to the recent Cyclist paintings, Luz produced works
that elevated Filipino aesthetic vision to new heights of sophisticated simplicity. By
establishing the Luz Gallery that professionalized the art gallery as an institution and set
a prestigious influence over generations of Filipino artists, Luz inspired and developed a
Filipino artistic community that nurtures impeccable designs.

Among his other significant paintings are Bagong Taon, Vendador de

Flores, Skipping Rope, Candle Vendors, Procession, Self-Portrait, Night
Glows,Grand Finale, Cities of the Past, Imaginary Landscapes. His mural
painting Black and White is displayed in the lobby of the CCP’s Bulwagang Carlos V.
Francisco (Little Theater). His sculpture of a stainless steel cube is located in front of
the Benguet Mining Corporation Building in Pasig.

LINK: http://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-
the-philippines/arturo-luz/
DAVID MEDALLA

LINK:https://www.google.com.ph/search?q=david+medalla&source=lnms&tbm=isch&
sa=X&ved=0ahUKEwir96nfosjZAhWMXrwKHVKDAxwQ_AUICigB&biw=1366&bih=598#i
mgrc=jy_9I5oEyHQhfM
:
David Medalla (born 1942) is a Filipino international artist. His work ranges
from sculpture and kinetic art to painting, installation and performance art. He lives and
works in London, New York City and Paris.
Medalla was born in Manila, the Philippines, in 1942. At the age of 12 he was admitted
at Columbia University in New York upon the recommendation of American poet Mark
van Doren, and he studied ancient Greek drama with Moses Hadas, modern drama
with Eric Bentley, modern literature with Lionel Trilling, modern philosophy with John
Randall and attended the poetry workshops of Léonie Adams.
In the late 1950s he returned to Manila and met Jaime Gil de Biedma (the Spanish
poet) and the painter Fernando Zóbel de Ayala, who became the earliest patrons of his
art. In the 1960s in Paris, the French philosopher Gaston Bachelard introduced his
performance 'Brother of Isidora' at the Academy of Raymond Duncan, later, Louis
Aragon would introduce another performance and finally, Marcel Duchamp honoured
him with a 'medallic' object.
His work was included in Harald Szeemann's exhibition 'Weiss auf Weiss' (1966) and
'Live in Your Head: When Attitudes Become Form' (1969) and in the DOCUMENTA 5
exhibition in 1972 in Kassel.
In the early 1960s he moved to the United Kingdom and co-founded the Signals Gallery
in London in 1964, which presented international kinetic art. He was editor of the
Signals news bulletin from 1964 to 1966. In 1967 he initiated the Exploding Galaxy, an
international confluence of multi-media artists, significant in hippie/counterculture
circles, particularly the UFO Club and Arts Lab. From 1974 to 1977 he was chairman
of Artists for Democracy, an organisation dedicated to 'giving material and cultural
support to liberation movements worldwide' and director of the Fitzrovia Cultural Centre
in London.
In New York, in 1994, he founded the Mondrian Fan Club with Adam Nankervis as vice-
president.[1]
Between 1 January 1995 and 14 February 1995 David Medalla rented a space at 55 Gee
Street, London, in which he lived and exhibited. He exhibited seven new versions of his
biokinetic constructions of the sixties (bubble machines; and a monumental sand
machine). These machines were constructed after Medalla's original designs, by the
English artist Dan Chadwick. The exhibition also featured large-scale prints of his New
York 'Mondrian Events' with Adam Nankervis, and five large oil paintings on canvas
created by David Medalla in situ at 55 Gee Street. Another important feature was a
monumental animated neon relief entitled 'Kinetic Mudras for Piet Mondrian'
constructed by Frances Basham using argon and neon lighting after Medalla's original
idea and designs.[2] Medalla also invited artists to perform at the space.
David Medalla has lectured at the Sorbonne, the École des Beaux-Arts in Paris,
the Museum of Modern Art of New York, Silliman University and the University of the
Philippines, the Universities of Amsterdam and Utrecht, the New York Public
Library, Simon Fraser University in Vancouver, Canada, the Universities
of Oxford, Cambridge, Canterbury, Warwick and Southampton in England, the Slade
School of Fine Art, St. Martin's.
He was the founder and director of the London Biennale in 1998, a “do-it-yourself” free
arts festival, which hosts work by Mai Ghoussoub, Mark McGowan, Deej Fabyc, Marko
Stepanov, Adam Nankervis, James Moores, Dimitri Launder, Fritz Stolberg, Salih Kayra,
Marisol Cavia, and many others.
David Medalla has won awards from the New York Foundation for the Arts and the
Jerome Foundation of America. In 2016, he was shortlisted for the inaugural Hepworth
Prize for Sculpture.[

LINK: https://en.wikipedia.org/wiki/David_Medalla

GED MERINO
Queens-based Filipino-American visual artist Ged Merino is a painter with printmaker
sensibilities. He co-founded Bliss on Bliss Art Projects in Sunnyside with his wife
Carolina Morales. The cross-cultural arts center provides an intimate venue for
contemporary artists, writers, filmmakers, scholars, performers, and educators to
showcase new work. Bliss on Bliss has been a recipient of Materials for the Arts for two
years now and hosts a wide variety of events from poetry readings, potlucks, chamber
music parties, to small film productions.
“For an artist-run space, being able to obtain free materials for artists and presentations
is a tremendous help, especially that we have no funding. I also get to use a lot of
discarded materials for my artwork and for the kids’ art classes I held last year,” says
Ged.
LINK: http://www.materialsforthearts.org/artist-spotlight-ged-merino/

ADAM MILLER

Adam Miller's paintings explore the intersection between mythology, ecology and
humanism. Visually inspired by baroque and Hellenistic narrative painting they take a
polytheistic approach to contemporary folklore, questions of progress and the
experience of human narrative in the face of technological change and the struggle to
find meaning in a world poised between expansion and decay. Miller's work is mannerist
in it's use of the human form as a vehicle of feeling and thought beyond the literal
representation of a particular person.
Born in 1979 in Oregon, He began an apprenticeship to artist Allen Jones at thirteen
years old and at Sixteen, was accepted to the Florence Academy Of Art in Florence and
continued his studies under Michael John Angel in Florence. For the next four years
Miller traveled throughout Europe studying the workof the Baroque and Mannerist
painters.

His work has been commissioned by Robert Pamplin Jr., the Chairman of the Board of
the Portland Art Museum, Mike Tyson, and Eric Rhodes, publisher of Fine Art
Connoiseur.

Miller has exhibited in both the U.S and Europe.

Adam Miller has been described in reviews as a "rising star of realism" and it was said
that he "would be considered a master in any era".

LINK: http://www.adammillerart.com/index.php/bio

JOAN MIRO

LINK:
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Joan Miró

B. 1893, BARCELONA; D. 1983, PALMA DE MALLORCA, SPAIN

Joan Miró Ferra was born April 20, 1893, in Barcelona. At the age of 14, he went to
business school in Barcelona and also attended La Lonja’s Escuela Superior de Artes
Industriales y Bellas Artes in the same city. Upon completing three years of art studies,
he took a position as a clerk. After suffering a nervous breakdown, he abandoned
business and resumed his art studies, attending Francesc Galí’s Escola d’Art in
Barcelona from 1912 to 1915. Miró received early encouragement from the dealer José
Dalmau, who gave him his first solo show at his gallery in Barcelona in 1918. In 1917
he met Francis Picabia.
In 1920 Miró made his first trip to Paris, where he met Pablo Picasso. From this time,
Miró divided his time between Paris and Montroig, Spain. In Paris he associated with
the poets Max Jacob, Pierre Reverdy, and Tristan Tzara and participated
in Dada activities. Dalmau organized Miró’s first solo show in Paris, at the Galerie la
Licorne in 1921. His work was included in the Salon d’Automne of 1923. In 1924 Miró
joined the Surrealist group. His solo show at the Galerie Pierre, Paris, in 1925 was a
major Surrealist event; Miró was included in the first Surrealist exhibition at the Galerie
Pierre that same year. He visited the Netherlands in 1928 and began a series of
paintings inspired by Dutch masters. That year he also executed his first papiers
collés (pasted papers) and collages. In 1929 he started his experiments in lithography,
and his first etchings date from 1933. During the early 1930s he made Surrealist
sculptures incorporating painted stones and found objects. In 1936 Miró left Spain
because of the civil war; he returned in 1941. Also in 1936 Miró was included in the
exhibitions Cubism and Abstract Art and Fantastic Art, Dada, Surrealism at the Museum
of Modern Art, New York. The following year he was commissioned to create a
monumental work for the Paris World’s Fair.
Miró’s first major museum retrospective was held at the Museum of Modern Art, New
York, in 1941. In 1944 Miró began working in ceramics with Josep Lloréns y Artigas and
started to concentrate on prints; from 1954 to 1958 he worked almost exclusively in
these two mediums. He received the Grand Prize for Graphic Work at the
Venice Biennale in 1954, and his work was included in the first Documentaexhibition in
Kassel the following year. In 1958 Miró was given a Guggenheim International Award
for murals for the UNESCO building in Paris. The following year he resumed painting,
initiating a series of mural-sized canvases. During the 1960s he began to work
intensively in sculpture. Miró retrospectives took place at the Musée National d’Art
Moderne, Paris, in 1962, and the Grand Palais, Paris, in 1974. In 1978 the Musée
National d’Art Moderne exhibited over five hundred works in a major retrospective of his
drawings. Miró died on December 25, 1983, in Palma de Mallorca, Spain.

LINK: https://www.guggenheim.org/artwork/artist/joan-
miro?gclid=Cj0KCQiAw9nUBRCTARIsAG11eidZR-
PosedznSKg4UqDTusjFmE8hyUIuchk_l1w8oeg6W6rMO-
oR2oaAlwcEALw_wcB

DAVID MOLESKY
David Molesky is an internationally recognized fine artist based in New York City known
for his landscapes and figurative works
David has a self-proclaimed preoccupation with the magic of painting; the way a gooey
substance is transformed to an illusionary image that arouses states of contemplation
and empathy. His representational paintings of humans and environments have been
featured in many museum exhibitions including: the Baltimore Museum of Art,
Maryland; Pasinger Fabrik, Germany; Casa Dell’Architettura, Italy; and
Telemarksgaleriet, Norway. David’s paintings are in the permanent collection of the
Long Beach Museum of Art among other museum collections on both coasts and in
Europe and Asia. He is the recipient of artist residencies through the Morris Graves
Foundation, California; Fine Art Base, California; and the Fundacja Nakielska, Poland.
Many publications have featured Molesky and his paintings including, to name a few: LA
Times,The Washington Post, OC Weekly, New American Painting, Hi-Fructose, and
Juxtapoz.
LINK: http://davidmolesky.com/index.php/about/

Jerry Morada

In Paete, Laguna, there is no shortage of exposure to Philippine folk

themes. Highly regarded for it's woodcarving industry, which goes
decades back, the town is a cradle for art talent. And among them,
starting his career as a wood-carving apprentice, is Jerry Morada.
Like his fellow Paete artist Dominic Rubio, Morada's depiction of
genteel colonialism can be traced to his town's folk sensibilities. He
counts as among his accomplishment the ceiling mural paintings at
the centuries old Church of Paete as well as prize winnings in major
Philippine art competitions, the most recent of which is his First Prize
at the GSIS National Art competition. He is also an accomplished
portraitist.

It was through Morada's family (his father was a wood carver) that
the artist discovered and nurtured his burgeoning talent. His carvings
of the human figure helped shape a later affinity for anatomical
accuracy and the techniques gained also enabled him to enter the
University of the Philippines College of Fine Arts.

Morada eventually developed and refined his skill in painting and this
was coupled with an already existing interest in history. It is not
surprising therefore that his pieces are nostalgic paintings of a
bygone era. His early fascination with old photographs empowered
him with a vision that was to be his guiding style.

His depiction of the Filipina is true to the classic image of Maria

Clara, traditional and beautiful. Usually decked out in turn-of-the-
century attire, Morada presents his women as pictures of character
and strength while maintaining that delicate femininity that is
altogether folksy and Filipino. His compositions indicate gestural
fluidity and movement using masterly techniques, Morada succeeding
in liberating his subjects.

His dexterity and flexibility as an artist is shown in his subjects

immersed as they are in the events and activities of rural life, the
nostalgic past or clothed in contemporary attire of plastic or foil. His
works can often reach the realm of metaphysics with his
preoccupation with dreams and dreaming.

In this regard, Jerry Morada himself remains the penultimate dreamer

and his paintings invite one to follow him into the depths and
brilliance of the historical as well as the romantic.
Jerry Morada

In Paete, Laguna, there is no shortage of exposure to Philippine folk themes.

Highly regarded for it's woodcarving industry, which goes decades back, the
town is a cradle for art talent. And among them, starting his career as a
wood-carving apprentice, is Jerry Morada. Like his fellow Paete artist Dominic
Rubio, Morada's depiction of genteel colonialism can be traced to his town's folk
sensibilities. He counts as among his accomplishment the ceiling mural paintings
at the centuries old Church of Paete as well as prize winnings in major
Philippine art competitions, the most recent of which is his First Prize at the
GSIS National Art competition. He is also an accomplished portraitist.

It was through Morada's family (his father was a wood carver) that the artist
discovered and nurtured his burgeoning talent. His carvings of the human
figure helped shape a later affinity for anatomical accuracy and the techniques
gained also enabled him to enter the University of the Philippines College of
Fine Arts.

Morada eventually developed and refined his skill in painting and this was
coupled with an already existing interest in history. It is not surprising
therefore that his pieces are nostalgic paintings of a bygone era. His early
fascination with old photographs empowered him with a vision that was to be
his guiding style.

His depiction of the Filipina is true to the classic image of Maria Clara,
traditional and beautiful. Usually decked out in turn-of-the-century attire,
Morada presents his women as pictures of character and strength while
maintaining that delicate femininity that is altogether folksy and Filipino. His
compositions indicate gestural fluidity and movement using masterly
techniques, Morada succeeding in liberating his subjects.
His dexterity and flexibility as an artist is shown in his subjects immersed as
they are in the events and activities of rural life, the nostalgic past or clothed
in contemporary attire of plastic or foil. His works can often reach the realm of
metaphysics with his preoccupation with dreams and dreaming.

In this regard, Jerry Morada himself remains the penultimate dreamer and his
paintings invite one to follow him into the depths and brilliance of the
historical as well as the romantic.

http://www.galeriejoaquin.com/artists/profile/6

http://artodyssey1.blogspot.com/2013/05/jerry-morada.html

EDSEL MOSCOSO

LINK:
https://www.google.com.ph/search?q=EDSEL+MOSCOSO&source=lnms&tb
m=isch&sa=X&ved=0ahUKEwjB7oGYq8jZAhUJvbwKHfQXDiwQ_AUICigB&bi
w=1366&bih=598#imgrc=spUnOoeAgzGQHM:
Edsel Moscoso was a Filipino visual artist who was born in 1952. Several works by the
artist have been sold at auction, including 'Angels' sold at Leon Gallery, Makati 'The
Asian Cultural Council Philippines Art Auction' in 2015. The artist died in 2008.
LINK: https://www.mutualart.com/Artist/Edsel-Moscoso/7C83961339D298E7#more
Edsel H Moscoso (1952-2008)

Antiqueño artist "Totong" Edsel Moscoso died of leukemia on December 21,

2008. He was a great loss not only to the artists, but also to the Antiqueño community. He was a Bugal
kang Antique awardee, 1993.

I was first introduced to him at Piedra Restaurant in 2003, when my first book THE RISE OF KINARAY-A.
He had been asking around for a copy. He would drop by everytime he was in town.

I took this picture of him in his house in Madrangca in April 2007. It was Binirayan festival, and he invited
me and Cecile Locsin Nava to have lunch with him. In August 28, I prepared an opening ritual for his
42nd solo exhibition at the Ayala Museum. He was very enthusiastic about telling me his next would be
in Switzerland. No one expected that following exhibit at the UN in Geneva would be his last. His
nephew Chad told me he came home from Switzerland very sick.

I wrote about that Ayala Museum show in Kinaray-a, and published it in the souvenir program of the 1st
Karay-a Arts Festival in October 2007. Totong was very happy when I gave him a copy. It was the first
time he was written about in Kinaray-a.

The last time we saw each other was during the Komedya Fiesta at the University of the Philippines on
February 15, 2008. He insisted on paying for the muscovado I bought for him. But those were really from
Marlene Liao. He told me he was so inspired by the komedya I directed he wanted to make a komedya
series.

He did not show up in Binirayan 2008. He was preparing for his Geneva show. At the 2nd Karay-a Arts
Festival in October 2008, somebody told me he was there, sitting under the shade of EBJ Park's very old
pine trees. He was wearing a cap, and obviously did not want to be recognized, said my source. He was
already very sick at that time.

Edsel was one great artist who was very proud about his roots. On February 11, we will open an exhibit
of Edsel's works at the Museo Antiqueño. I went as far as Silay City to borrow his nude sketches from
Lyn Gamboa. And as for my own tribute to him, I translated into English that article about his 42nd show
"Antiqueños, Homage to my Kasimanwas" at the Ayala Museum.

Totong’s Tribute to Antiqueños

On August 28 to September 10, 2007 perhaps every Antiqueño who have visited Greenbelt Park at Makati has seen the
ubiquitous poster boldly titled “Antiqueños.” And perhaps, they have – just as I had – felt a little nostalgic or teary-eyed
with joy and pride, and restrained the urge to shout and jump for joy amidst the rush of cosmopolitans going to and from
work or the malls. To find “Antiqueños” in the posh and upmarket mall complex in Makati City is almost unthinkable.

“Antiqueños: Homage to my Kasimanwas” was the 42nd solo exhibit by Antiqueño painter Edsel Moscoso. Born and
raised in Bugasong, Moscoso made a name for himself among art collectors in Manila and abroad. This turned out to be
his second to the last exhibit; his last was in Switzerland before he came home very ill. Paying homage to his fellow
Antiqueños in his 42nd exhibit was a very significant step for Moscoso. It was the first time in his entire career as painter
that he announced in his exhibition that he is an Antiqueño, and that his paintings are images of Antiqueños.

Edsel Moscoso was a big name among collectors and art critics. He shows were much written about in newspapers and
magazines, but none mentioned about Antique. His paintings were regarded as Filipino, but never Antiqueño. National
Artist Nick Joaquin in his column in Manila standard wrote of Moscoso’s paintings: “(they) tell no story – except that
eternal story of born, live, love, work, suffer and die – but they do make a point of retelling that story as the story of how
the Filipino is born, lives, loves, works, suffers, and dies.”

The brochure for the “Antiqueños” exhibit says: “Moscoso’s art identifies with the Filipino rural community. He spent part
of his life in the simplicity of the rural environment.” I wonder if this was a conscious effort to generalize, or if the writer
was not at all aware that the “rural environment” that mapped Moscoso’s imagination as artist were the mountains,
valleys and seas of Antique, and the Antiqueño fisherfolks, peasants, and vendors. In short, as artist Edsel Moscoso was
first appropriated by the Filipino, before he was possessed by the Antiqueño. In other words, he was first discovered by
the nation, before he was owned by the province. Or perhaps, it was Moscoso who first saw the nation, before zeroing in
on his hometown.

In “Antiqueños: Homage to my Kasimanwas” Moscoso comes full circle. It a journey of an Antiqueño as an artist. The
artist had come home, and he was warmly welcomed by the Antiqueños. The exhibit opening on August 28, 2007 was
attended no less by Senator Loren Legarda, who traces her roots to Antique, and Governor Sally Zaldivar Perez and her
entourage of Antiqueño supporters and friends.

Moscoso, well-remembered by his family and friends as Totong Edsel, was born on January 30, 1952 in Bugasong as the
sixth child of Dr. Julito A. Moscoso and Remedios Atillo Hermoso. He started drawing before he went to school at
Bugasong Elementary School, and finished Fine Arts at the University of the Philippines. In 1975, he was chosen as one of
the 13 Outstanding Young Artists of the Art Association of the Philippines, and he participated in various group exhibits
before he had his first solo show at the Kilusang Gallery, followed up with another at the Galeria Buglas in Bacolod City.

In the 80s, Moscoso ventured into holding exhibitions abroad, like San Francisco, Italy, Beijing, Moscow, Sweden,
Germany, Yugoslavia, Bulgaria, among others, which gave him renown as an international artist. In 1986 he studied at
the Center for the Study of Medieval Art and Culture through a scholarship from the Italian Government. He finished
summa cum laude at the Pontifico Instituto di Archeologia Christiana in Rome.

Moscoso’s career as an artist is a long list of solo exhibits all around the globe. He kept coming and going if only to show
off his canvasses of the ordinary folks – sakadas, peasants, fisherfolks, farmers, vendors, salt-makers – little people in
varied poses of daily living, carrying their burden of baskets, sugar canes, fishnets, sacks of rice. They are pictures of
simple yet industrious and hardy folks, of peasant women framed by halos, evoking divinity in their earthiness. Perhaps
these are the images that enchant Moscoso’s collectors. He called his paintings “manscapes.”

At the dawn of the new millennium, Moscoso went home to Antique and built his house atop the rocks of Madrangca
Beach in San Jose. His dream house facing the sea gave him a view of Madrangca’s picturesque sunset, and perhaps it
was this that convinced him to stay in Antique. His house was his sanctuary, and he filled it with his art collection from the
different places he had been to. He wanted to make this as a creative space to become home to artists and writers who
wanted to get inspiration for their works.
In his 42nd solo exhibit, just after an exhibition in Seoul, Korea, and before a scheduled exhibition in Switzerland, Moscoso
proudly announce, after a long journey around the globe, that the people clothed in gold – as Nick Joaquin had it: the
golden Moscosos – are Antiqueños. It was the greatest honor Moscoso gave to Antique and her people.

http://datulubay.blogspot.com/2009/01/edsel-h-moscoso-1952-2008.html

RAFFY NAPAY

About Raffy T. Napay

Born in 1986 in Pangasinan, Raffy Napay is a multimedia artist who graduated from
the Eulogio Amang Rodriguez of Science and Technology’s Fine Arts program in 2009.

The entire space will be filled with vibrant colors, water, flora, roots, and
nature. According to the artist himself, the process is a “stream of
consciousness flow where materials, subject, and personal experience come
together to make up the work.” Ugat, or root in English, sends a message with
the knots, twists, and patterns he uses as he breaks away from his usual
ways.

Napay has chosen the forest as a symbol of his life: the people, the
experiences, all the ups and downs of his life. His interest in nature will
ultimately reflect in the roots and sculptures shown at Silverlens.

According to Anna M. Rosete, Ugat is a metaphor for humankind’s

interconnectedness, owing to people’s shared experiences and articulating
the fact that no matter where people in the world are situated, their personal
experiences enable them to take part in a common process of growth and
evolution.

http://primer.com.ph/event/2018/01/09/raffy-napay-debuts-first-solo-exhibit-entitled-
ugat/

Thread was Raffy Napay’s medium. Napay’s body of work involves meticulous attention to
detail. His signature styles of stitching, stuffing and weaving thread and scrap fabric onto
canvass have already been knitted into the Filipino art scene, Napay gives new depth to wall
mounted-canvases-with intricately swen, uneven fringes of colorful fibers. Napay stretches
theses simple materials to express his personal journey and in the process tells a visual story.

In 2013, he won the Ateneo Art Awards which earned him recidency grant in Liverpool Hope
University, England. He is also a recipient of the 2015 Florence Bieennel’s International
“Lorenzo Magnifico” Award for Textile Art.

https://www.spot.ph/arts-culture/arts-culture-peopleparties/64992/art-fair-philippines-
2016-featured-artist-raffy-napay-20160125

LINK: http://www.imagomundiart.com/artworks/raffy-t-napay-nest/

LEROY NEIMAN

Best known for his brilliantly colored, stunningly energetic images of sporting events
and leisure activities, LeRoy Neiman is probably the most popular living artist in the
United States. The artistic style of the fabulously successful Neiman is familiar to a
remarkably broad spectrum of Americans –“rich and poor, black and white, urban and
rural, educated and illiterate,” and young and old alike. He was the official artist at five
Olympiads. Millions of people have watched him at work: on ABC TV coverage of the
Olympics,as CBS Superbowl computer artist, and at other major competitions, televised
on location with his sketchbook and drawing materials, producing split-second records
and highly developed images of what he is witnessing. “Before the camera, such
reportage of history and the passing scene was one of the most important functions of
painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-
honored art form,” Carl J. Weinhardt observed in the catalog for the exhibition of
Neiman’s 1972 Olympics sketches, which was mounted that year by the Indianapolis
Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that
Neiman, who has been labeled an American Impressionist, “has the journalistic talent,
as well as the artistic ability, to convey the essence of a game or contestant with great
impact, from the Kentucky Derby to Wilt Chamberlain, from the America’s Cup to
Muhammad Ali, from the Super Bowl to Bobby Hull.”

LINK: http://www.leroyneiman.com/artist-biography/

JUSTIN NUYDA

LINK:
https://www.google.com.ph/search?biw=1366&bih=598&tbm=isch&sa=1&
ei=AH-
WWtKpK8rS8wX42biwCg&q=JUSTIN+NUYDA+PICTURE&oq=JUSTIN+NUYD
A+PICTURE&gs_l=psy-
ab.3...5819.7948.0.8864.8.8.0.0.0.0.146.993.1j7.8.0....0...1c.1.64.psy-
ab..0.2.171...0i19k1j0i30i19k1.0.RT8V-b74tHk#imgrc=S0spBN25OFSGoM:

Justin Nuyda is an enigma.

One of the original members of the Saturday Group, he has stopped going there
altogether. Famous for his abstracts, he has become reclusive lately and chosen to
devote himself to collecting butterflies.
Today Nuyda is considered a top lepidopterist. He has named countless butterfly
species. More than that, he has discovered several new species and subspecies. For his
regular income, he also became part owner of The Hobbit House, the very popular pub,
with Jim Turner.

LINK: http://lifestyle.inquirer.net/115369/cerebral-abstractionist-justin-nuyda-takes-
flight-with-mindscapes/
JONATHAN OLAZO

LINK:
https://www.google.com.ph/search?q=ABOUT+JONATHAN+OLAZO&dcr=0&source=ln
ms&tbm=isch&sa=X&ved=0ahUKEwip7YGrr8jZAhUIE7wKHfmrB3IQ_AUICigB&biw=136
6&bih=647#imgrc=jYOTK0MVw1if5M:

Jonathan Olazo is a Filipino visual artist who was born in 1969. Jonathan Olazo has had
several gallery and museum exhibitions, including at The Drawing Room, Makati and at
the Manila Contemporary. Several works by the artist have been sold at auction,
including 'Nominal Marble' sold at Leon Gallery, Makati 'Kingly Treasures' in 2017.

LINK: https://www.mutualart.com/Artist/Jonathan-Olazo/929B56DF3902C42E#more
ROMULO OLAZO

ROMULO Olazo. FROM BOOK “ROMULO OLAZO,” PUBLISHED BY PASEO GALLERY, 2013
ROMULO Olazo, who passed away on Aug. 18 at age 81, was one of the most dominant
abstractionists of the second generation of Filipino modern artists—and probably the
one with the most longevity and staying power.
Long nominated for the National Artist Award, Olazo was both a painter and a
printmaker, mastering the gamut of print forms, from woodcut to etching, serigraph,
silkscreen and collograph, and expertly combining both painting and printmaking in his
major series, “Diaphanous” and “Permutation.”
In 1981, Olazo was selected by distinguished critics—Leo Benesa, Rod. Paras-Perez and
Emmanuel Torres—as one of “Five Outstanding Living Artists.” The others were
(National Artists) Cesar Legaspi, Ang Kiukok, Arturo Luz and Napoleon Abueva.

LINK: http://lifestyle.inquirer.net/204349/romulo-olazo-artist-with-fecund-
imagination-staying-power/

ONIB OLMEDO
 LINK:
https://www.google.com.ph/imgres?imgurl=http://lifestyle.inquirer.net/fil
es/2015/02/t0208bettina_feat3_1.jpg&imgrefurl=http://lifestyle.inquirer.n
et/183837/i-remember-onibs-secret-love-
affair/&h=635&w=932&tbnid=o6ZWRoerbN0flM:&tbnh=125&tbnw=183&u
sg=__WKAq0q6BtCR9asxlsfMDkZAW7ig%3D&vet=10ahUKEwjrjPCfscjZAhX
By7wKHT_TDuQQ_B0IiwEwEQ..i&docid=-
pdZ3dViRKozgM&itg=1&sa=X&ved=0ahUKEwjrjPCfscjZAhXBy7wKHT_TDuQ
Q_B0IiwEwEQ#h=635&imgdii=y1amqUkCyPPtDM:&tbnh=125&tbnw=183&
vet=10ahUKEwjrjPCfscjZAhXBy7wKHT_TDuQQ_B0IiwEwEQ..i&w=932

Onib Olmedo was a Filipino artist best known for his expressionistic
figurative paintings. Along with Solomon Saprid and Ang Kiukok he helped
found the Filipino Expressionist movement. He represented marginalized
members of Filipino culture, including prostitutes and musicians, using the
techniques of Cubism and Expressionism to contort their bodies and faces.
Born on July 7, 1937 in Manila, Philippines, he abandoned a career in
architecture in 1970 to pursue his passion for art. The artist died on
September 8, 1996, in Manila, Philippines. Prior to his death Olmedo had
received critical acclaim for his work both in his country and abr oad,
appearing in exhibitions such as the 1992 Cagnes -sur-Mer International Art
Competition in France.

LINK; http://www.artnet.com/artists/onib-olmedo/

AZI ONG
 LINK:
https://www.google.com.ph/search?q=AZE+ONG&dcr=0&biw=1366&bih=
647&tbm=isch&source=iu&ictx=1&fir=X7QZVu0N-
Z5TcM%253A%252CTkDZY9vH0FqdvM%252C_&usg=__YdDFmgKiMlc86K6
Rp5dmjH-
HZGI%3D&sa=X&ved=0ahUKEwjb04aHssjZAhUHE7wKHdhzBLgQ9QEINjAC
#imgrc=X7QZVu0N-Z5TcM:

Aze Ong was a volunteer teacher assigned to the mountains of Bukidnon where she
was inspired by the culture of the Talaandig tribe. She creates artworks combining
crochet with metal, wood, fibers, leather and semi-precious stones. Her creations range
from sculptural installations to wearable art. Aze is an advocate of art as a source of
healing and enlightenment. Spontaneity is a major factor in her process-oriented art in
which she considers her lifetime companion.
I'm a paragraph. Click here to add your own text and edit me. It's easy.
ARTIST STATEMENT
I firmly believe art and life flow together. My artworks are realization of experiences:
consciousness, awareness and path to enlightenment. I treat them like my own having
personalities, characteristics and feelings. They are made spontaneously without
patterns, standards, formulas, sketches or studies. My purpose is to share this to
everyone.

"Liwanag ng Karanasan" Light of Experience is the title of my artwork in progress from

where the recurring exhibit title "Liwanag" Light was derived. This unfinished work
accompanies me throughout my experiences and journeys. As of 2011, it has reached
an approximate length of 16 feet. The art work-in-progress serves as my companion in
this calling and can never be truly completed. I want the work to be exhibited in my
funeral as my physical body leaves this earth.”

ABOUT THE ARTIST
Aze Ong is a Manila-based artist working with crocheted sculptural forms, installation,
and performance. Her works range from small sculptural pieces to large-scale crocheted
installations that elicit a visual conversation with and within the site. The works may be
floor-based, suspended from the ceiling, or wearable. The works are distinct for their
tactile properties, unusual color harmonies, and shapes leaning towards abstraction.
Since patterns result from the instantiation of the artist’s affective state and cognitive
impulses at a given time, each creation is unique. The works underscore the process-
oriented nature of creation and phenomenological experience of the artist.
Aze learned crochet in her Technology and Home Economics class during her formative
years. Her teachers noted her intuitive approach to the craft and often gave her high
marks for the functional objects she created. Eventually, what initially started as a
hobby became a creative discipline. Aze initially helmed patterns and shapes within the
confines of spaces typically relegated as private, feminine, and quotidian. Crochet was
initially ignored in mainstream exhibition spaces and platforms of artistic validation.
Nevertheless, Aze was not deterred and she continued her artistic practice.
In 1999, Aze went through a transformative experience as a volunteer teacher in Xavier
de Kibangay under the Associate Missionaries of the Assumption in Lantapan, Bukidnon.
Most of her students belonged to the Talaandig ethnolinguistic group. As she interacted
with the Talaandig, they taught her their rituals and lifeways -- their affective approach
to the creation of their songs, dances, and textiles was an eye-opener for Aze. She was
particularly enthralled by the embroidered fabrics of the Talaandig and found out that it
took several weeks up to months and under the guidance of ancestral spirits for these
creations to be realized. In addition, their unique melodies emanate from unconscious
mental processes and empathic states that can no longer be repeated once enacted. In
one of the ritual feasts that she often witnessed, she observed a dance called binanog,
characterized by stylized gestures mimicking avian movements. The honor of witnessing
and humbling experience of the lifeworld of the Talaandig became an impetus for her
process-oriented approach to art.
Aze started participating in group exhibitions in 2010: in alternative art spaces such as
Espasyo Siningdikato and Likha Diwa sa Gulod; mainstream galleries such as Altro
Mondo; and state-run art institutions such as the GSIS Museo ng Sining.
A traumatic incident in 2012 caused Aze to take refuge in her art. She crocheted
everywhere she went until the repetition of gesture and motif provided the inner
healing she needed. Curious passersby would sometimes approach her and observe
that her works reminded them of mandalas. The artist’s experience of caring for several
loved ones afflicted with diseases also allowed her to see the importance of healing. For
Aze, the boundaries between art and life are collapsed; the art works result from the
artist’s internalization of external forces and externalization of her internal struggles and
thoughts.
Soon, solo exhibitions were launched one after another. "Liwanag" was a series
launched in 2011 before being exhibited in 2013 at the National Commission for Culture
and the Arts Gallery in Intramuros, Manila. "Liwanag sa Kawalan ng Kulay" was
launched in 2016 at the Yuchengco Museum. Each time, the exhibitions are inflected in
new ways depending on the artist's present circumstances.
Since then, Aze Ong has been participating in important group exhibitions staged in
several galleries in Manila and overseas as well as an international travelling exhibition
in Vargas Museum. She has several solo exhibitions to her credit and has been featured
by mainstream broadcast channels.
The artist’s interactions with people, the places she has traversed, her fluctuating
emotional states, and elements from visual culture she absorbs are all embodied in her
painstaking creations.
To this day, one will sometimes catch a sight of the artist creating spontaneous patterns
and shapes while she is seated in a corner, inside a vehicle caught in a traffic jam, or
waiting for a flight in an airport. Bursts of creative insight arrive several times within a
day, followed by a relentless need to allow them to take form through the artist’s
medium. Aze would sometimes incorporate found objects such as beads and bells into
the rich hues and textures of the yarn. Recently, Aze has been translating the
properties of sound in her visual-tactile creations through the “Sound in my Head”
series.
Aze Ong’s exhibition openings are often ritualized, often starting with a performance
around the space. Wearing her butterfly shawl our a pastiche of crocheted fabrics,
eclectic melodies and improvised percussive sounds often provide a sonic backdrop for
Aze as she moves trance-like around the site. The performance is akin to a butterfly’s
emergence from a cocoon or a process of awakening from darkness into a space
bathed by light and vivid colors. Each exhibition that features the crocheted sculptures
and installations of Aze Ong is a multi-sensory experience that invites the viewer to
touch, wear, or interact with the works.

LINK: https://www.azeong.com/about
RAMON ORLINA

LINK:
https://www.google.com.ph/search?q=ABOUT+RAMON+ORLINA&dcr=0&s
ource=lnms&tbm=isch&sa=X&ved=0ahUKEwimge7Xs8jZAhXHxbwKHRvqAJ
YQ_AUICigB&biw=1366&bih=647#imgrc=IR13-eM0npEqQM:
About Ramon Orlina

Ramon Orlina was born in Manila,

Philippines. After completing his architectural
degree at the University of Santo Tomas in
Manila, he practiced architecture until 1974.
He then began his career in art painting,
eventually turning to sculpture. Drawing from
his experience as an architect, Orlina chose
to create sculptures from glass which he felt
at that time had most potential in expressing
his visual imagery. Exploring forms though
glass cullets or crystal blocks, the artist
continue to exploit their translucent quality
and smooth finish produced from months of
reshaping and grinding.
His abstract sculptures are
composed of a series of angles
through creating sharp edges
or sleek bends that denote
movement and fluid lines. By
playfully manipulating varying
qualities of light entering and
trapped at different angles, his
sculptures are never static
masses. They are not
only 3-dimensional, sculpture-in-the-round
objects, but multi-dimensinal constructions
with no front or back orientation. One can
view his pieces from any point of view and
interpret them beyond the artist's intended
form.

In this sense, Orlina's achievement is in

freeing the viewers to see his sculptures in
anyway they choose. He also frosts sections
of the surfaces with figurative motifs by
etching directly onto the glass while leaving
most parts of it polished and smooth. The
illusions created through the various prisms
intensify the viewer¹s imagination.

A multi-awarded glass sculptor, Orlina¹s

reputation extends to art circles and patrons
in Singapore, Malaysia, Hong Kong, Japan,
U.S.A. and the former Czechoslovakia. He has
represented the Philippines in the XVII Grand
Prix Internationale D' Arte Contemporaine de
Monte Carlo in 1977; the Bienale
Internationale de Arte, Valparaiso, Chile in
1987; the Suntory Prize Exhibition, Japan in
1994; the Toyamura International Sculpture
Biennale, Japan in 1995 , the 9th Asian
International Art Exhibition, Taipeh, 1994;
the Osaka Sculpture Triennale, Japan in 1992
and 1995. The artist has been commissioned
for public art sculptures and has exhibited
extensively.
 He was conferred the
ASEAN Awards for
Visual Arts in 1993 by
the ASEAN Committee
on Culture and
Information (COCI) in
Brunei and in 1994, he
received the 3rd ASEAN
Achievement
Awards for Visual Arts in Kuala Lumpur from
the ASEAN Business Forum. From 1992 to the
present time he has led the Art Association of
the Philippines as its president.

The year 1999 marked a high point in Orlina's

career with his winning the "Mr. F Prize" of
the prestigious Toyamura International
Sculpture Bienale, '99 in Hokkaido, Japan.
This biennial attracted 956 entries from 65
participating countries competing in all
mediums. The winning piece of Orlina was a
dazzling white optical glass sculpture called
"Silvery Moon".

In the turn of the

Millennium, Ramon
Orlina has pondered on
the multi-faceted
nature of his work, and
decided to augment it
with the introduction of
tubular stainless steel,
a phase first
suggested in "Basketball Mi Mundo" which
won the coveted First Prize in the sculpture
category of the II International Biennale of
Basketball in the Fine Arts held in Madrid in
January, 2000.

In his more than 25 years as a sculptor,

Ramon Orlina has consistently shown
excellence, originality and daring as a
sculptor.

LINK: http://www.orlina.com/short_biography.html

GINES PAGAN

Born in Ceuta, Spain, Ginés Serrán-Pagán has lived most of his life in New York
where he graduated in Anthropology from New York University. Xinhua
News (Beijing) and EFE News (Madrid) recently considered him as one of the most
renowned international contemporary artists in the world today and the
western artist who has had more exhibitions in Asia. He has had in over 225
exhibitions in 20 countries (110 solo exhibitions). His paintings and sculptures are
collected by major museums including the Guggenheim Museum of New York and
by numerous institutions and private collectors. He is the recipient of important
international awards and acknowledgments. Amongst them, he has received the
Medal of the City of Kanazawa, Japan, and the Gold Keys to the City of Miami
for his artistic and humanitarian contributions to the world.

Nacido en Ceuta, España, Ginés Serrán-Pagán ha vivido la mayor parte de su vida

en Nueva York donde se graduó en Antropología en la New York University. Xinhua
News(Beijing) and EFE News (Madrid) recientemente lo han considerado como uno
de los artistas internacionales contemporáneos más conocidos en el mundo y
el artista occidental que ha tenido más exposiciones en Asia. Ha tenido más
de 225 exposiciones en 20 países (110 exposiciones individuales). Sus pinturas y
esculturas son coleccionadas por museos importantes incluyendo el Guggenheim
Museum of New York y por numerosas instituciones y coleccionistas privados. Ha
recibido premios y reconocimientos internacionales importantes. Entre ellos, le han
sido otorgadas la Medalla de la Ciudad de Kanazawa, Japón, y las Llaves de
Oro de la Ciudad de Miami por su contribución artística y humanitaria al
mundo.

LINK: http://www.serran-paganart.com/
 ALAB PAGARIGAN

Name

Joseren Alab D. Pagarigan

About

28 June 1985/Antipolo City, Philippines

Coming from a family of artists, my early exposure to art made me a scholar of
Philippine High School for the Arts (the only secondary school in the Philippines that
combines general secondary education level program with a special curriculum in the
field of arts) and received a formal training and discipline. I decided to further hone my
skills by entering the University of the Philippines, College of Fine Arts to pursue my
dream of becoming a renowned sculptor.

EDUCATION

University of the Philippines, College of Fine Arts, Diliman Q.C

BFA, Sculpture: 2010
CFA, Sculpture: 2006

Philippines High School for the Arts

Visual Arts Major: 2002

AWARDS

2010 Outstanding Thesis Award (Thesis entitled "Hollow, Humans")

Thesis Grant Awardee of 2010 (UP-CFA Thesis Support Fund for Young Artists and
Designers)

University Scholar, University of the Philippines, 2002-2003 (2nd Semester)

Specialties
 wire sculpture
Skills
 sculpture

 painting
 illustration

 graphic design
Made with Carbonmade

LINK: https://jadp.carbonmade.com/about

BRENDA PAJARDO

2013 Gawad CCP para sa Sining

Brenda Fajardo: The artist as scholar, educator and cultural worker
By Cecilia S. De La Paz, Ph.D.

To imagine Brenda V. Fajardo’s life journey as an artist is to conjure up an image of

several roads that continuously merge with one another producing a versatile person
who is also a scholar, educator and cultural worker. Born in 1940 in Manila, she grew
up in a home steeped in art practice led by her mother and folk dance scholar
Libertad Villanueva. An interest in farming because of lands owned by her family in
Bago City, Negros Occidental led her to pursue a degree in BS Agriculture in 1959 at
UP Los Baños, with the goal of eventually cultivating the land and nurturing it’s
community. Encouraged to teach art courses at the high school level, she studied at
the University of Wisconsin, finishing her Master of Arts degree in Art Education in
1967.
Upon her return, her interest in art production led her to study printmaking under
Manuel Rodriguez, Sr. which led to a body of art works in the graphic arts
embodying personal introspection on the themes of self-liberation. We might say
that the images of bodies moving out of their confinements and flying away, done
with the surety of lines provided by the medium of printmaking, would plant the
seeds of a series of paintings in which she will be known – the Tarot Card series.
Art critic Alice Guillermo once described Fajardo as the “High Priestess of Tarot,”
explaining that the tarot as a device allowed the artists to “not only deal with the
personal vicissitudes of an individual but also touches on the large movements of a
country’s collective experience.” (Guillermo, 2001, 93) Finding inspiration from
Philippine history, Fajardo successfully weaved an interpretation of the colonial past
in the light of contemporary issues of migration, human rights, political corruption
and women’s rights, but always insisting on historical recuperation and the value of
human dignity. Transforming an aspect of Western culture into a dialogue of Filipino
motifs taken from history and myth, her art allow the viewer to view Philippine
history as a continuing saga – a story that still needs to be retold in many different
ways – the colorful tarot images of the Babaylan, ang Gaga (the Fool), lovers, among
others, providing commentary on various thematic tableaux. Fusing artistry and
scholarship, her research on Philippine society and culture, inspired by her PhD
degree in Philippine Studies (1997) from UP Diliman, led her incorporate local myths,
legends and epic in her work such as Labaw Dongon, among others.She also re-uses
diaries or letters as handwritten narratives that frames the discourse of bayani or
heroes / heroines in Philippine history, and up to the present, still continues to reflect
on the tension between image and text through her Apocalypse series, which in her
view remains incomplete. For her outstanding contribution to Philippine visual arts,
she was awarded the CCP Thirteen Artists in 1992 and the CCP Centennial Honors
for the Arts in 1999, among other national and international awards and grants.
All of her works adhere to her view of the human being as “thinking, feeling, willing”
and it is only with full consciousness of the balance of these aspects of the human
condition that one can contribute, not just for personal development, but to social
transformation as well. Such a view led her to work with other artists, scholars and
cultural workers through the following engagements: as faculty (since 1976) and
former Chair of the UP Department of Art Studies where she was bestowed the title
of Professor Emerita; as curator of the UP Jorge Vargas Museum (1995-2001); as set
designer, actress, director and curriculum head for PETA or Philippine Educational
Theater Association (1970 to the present); and as founder of PAEA or Philippine Art
Educators Association (1967), KASIBULAN or Kababaihan sa Sining at Bagong Sibol
na Kamalayan (1987), BAGLAN or Baglan Art and Culture Initiatives for Community
Development (1993) and DESK or Dalubhasaan sa Sining at Kultura (2002). Her
involvement in outreach projects for the Cultural Center of the Philippines,
workshops for the National Commission for Culture and the Arts and activities for the
National Research Council of the Philippines also focused on the development of a
community of artists in the regions, advocating the value of local research and
resources as a strategy of cultural empowerment. Her goal to concretize her vision of
art having a role in community development eventually resulted in a continuing
engagement with the community of Hanao-Hanao in Bago City where the family
lands are located, where she uses her knowledge of biodynamic farming, rejuvenates
traditional textile weaving methods, and utilizes art practices for other livelihood
projects in the hope of improving the lives of its residents.
But for all her legacy to Philippine society as an artist, it is her role as teacher and
mentor to a generation of artists, students, curators and art managers which
 ultimately forge the convergence of her art practice. A true scholar, she adheres to
the value of studying and learning new perspectives as means to develop oneself
and others. Artists, students and cultural workers continue to seek her guidance on
how to traverse the paths that lead to a life full of purpose – that art is a means not
just to understand society, but more importantly, to transform it for the better
future. Because of her lifetime of art practice that converge with one another, she
was able to contribute to a thriving art community that enables open dialogue and
discourse on Philippine art and various issues that it faces. Whether we call her
“Manang Dida,” “Tita Brenda” or “Ma’m Brenda,” she will always be the mother-
figure for many scholars, artists and cultural workers in the Philippines. In a sense,
she is like the babaylan of her paintings – mediating and facilitating our
understanding of our society, invoking the value of self-empowerment to liberate the
human consciousness from ideas that stifle our humanity, seeking to free our
imagination in order to re-create a better society, now and into the future.
Cecilia S. De La Paz, Ph.D. is Chair of the Department of Art Studies at the College of
Arts and Letters.
Reprinted with permission from the: 2012 Gawad CCP para sa Sining Folio.

LINK: https://upd.edu.ph/~updinfo/features/index2.html

MARIO PARIAL

Mario Parial

The foremost genre artist of the Philippines, Professor Mario Parial has for more than
four decades explored themes that have endeared him to art lovers: the folk imagery,
festivals, local traditions, harlequins, kites and the day to day activities of the common
folk in his inimitable style.
For his latest exhibit, which opened Galerie Joaquin's Legacy Series in July, Parial
revisited these favorite themes but imbued them with a newfound energy, creativity,
and vision. Just as his viewers were seeing his works with new eyes Parial says that
viewers are seeing a stylistic shift in his current works, drawing insight from his
influences , Marc Chagall and Pablo Picasso. He shares: "This shows in my approach to
the subjects I render, the composition, even the colors. There is more movement and I
use a different palette."
As art historian Ruben Canete says that "like wine, Parial is certainly getting better
through the years. If exhibits can be considered like movies, Legacy Series: Mario Parial
is a blockbuster."
Parial is a multi-awarded artist. While still a student at the University of Sto. Tomas, he
won first prize in the 1966 Art Association of the Philippines art competition. He also
received the Benavides Award for Outstanding Performance for University Prestige from
the UST in 1967. In 1972, he received the much-coveted Thirteen Artists Award of the
Cultural Center of the Philippines, and in 1978, the Outstanding Thomasian Award, also
from UST.
He has exhibited in Hong Kong, China, Germany, and in key cities of Canada,
Indonesia, Singapore, Taiwan, and the United States. He has taken part in over 160
group shows and has had 25 one-man shows to his credit. His works have been
auctioned at Sotheby's auctions on Southeast Asian Art.

LINK: http://www.galerieraphael.com.ph/artists/view/4.html

NELFA QUERUBIN

“HOLDING Together”
Nelfa Querubin (b.1941) takes her clay works to their maximum potential as she creates
objects rich in color and texture formed into various shapes and sizes.
Contoured, stretched, twirled and pressed, clay comes alive under this master clay
artist’s dexterous hands as she produces a collection of some of the most fascinating
objects seen in this medium.
Querubin is one of the country’s pioneers in ceramic and clay art, whose passion began
in 1973 when clay works were not yet recognized as fine art. She discovered and loved
the medium just soon after making a mark in printmaking, preferring the tactile
qualities and unpredictability of this pliable material.
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Practically a self-taught artist, Querubin’s unrelenting prolific artistic pursuits has gained
her the 1980 Cultural Center of the Philippines Thirteen Artists Award in recognition for
her contribution to the indigenous movement in Philippine contemporary art.
Hailing from Miagao, Iloilo, she moved to the US in 1985 where she now lives and
works with her husband in Golden, Colorado, an idyllic place that lies at the foot of the
Rocky Mountains.
Today, she comes home to showcase her impressive collection which speaks of her
passion toward this versatile medium. The works are on view in three venues:
Liongoren Gallery (until April 16), Izukan Gallery (until April 28), and Ayala Museum
(until April 28).
Otherworldly character
Querubin’s creations of functional and sculptural pottery—vessels, table-top sculpture,
tea sets, plates—all seem to take on an otherworldly character as she applies color and
texture on abstracted forms that display her brave experimentations on the medium.
Querubin takes inspiration from nature: “Colorado has gorgeous landscape scenery: the
changing season, the fantastic rock formation with exquisite texture and color of
different kind. Those are the texture and form in my works. My love of rocks, water and
nature, I found it here abundantly.”
The colorful rocky terrain of her environment is echoed in a number of works such as
“Purple Summit” and “Harvest” at Liongoren Gallery; “Holding Together,” “Open
Vessel,” “ Arctic Formation,” “Porcelain Carved” at Izukan Gallery; and “Desertscape”
and “Orb” at Ayala Museum—where layers of various color and texture come off like a
cross-section of the interior structure of the earth.
Her usual use of color is reminiscent of her early works in printmaking (Ayala Museum
exhibition)—bright oranges against cool blues on a field of earthy tones and texture
that mimic the organic qualities of nature.
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Querubin’s enthusiasm for the medium has motivated her to formulate her own clay
bodies and glazes, fashion her own tools, and construct her own kiln.
Experimental methods
Her experimental methods help her to create various designs as she applies a range of
techniques and firing applied to various substances mixed in with the clay—sometimes
firing several times just to meet her aesthetic requirements.
“Harvest” is a circular thick plate, its upper section, filled with abstract layers of
multicolored lines and forms, has been applied with mason stains, colored glazes, lichen
glaze, and fired high in both gas and electric.
“Purple Summit”—an abstract piece in porcelain, carved and under-glazed and iron-
glazed, using mason stain, and fired high in electric—recalls the rugged mountainous
terrain of her home and the orange sunset sky above its peak.
A colorful and playful sculptural composition, “Holding Together” finds a solid base of
“rock formation” in layers of bright cerulean-blue, burnt orange and yellow ochre that
nest balls like eggs, in varying sizes and color, call to mind eagle’s nests high above the
mountains.
Ceramic pottery is not complete without the ubiquitous tea set. At Izukan, Querubin
displays a few sets that emphasize her unique approach to this medium.
“Fish Teacup with 2 Cups,” glazed and mottled in shades of green, contain the patterns
of fish bone imprints that give the pieces a unique and imaginative playful character.
Rustic charm

The coil method, formed and shaped like rope, is twirled to form “Intimate Teapot,” a
set in shades of earthy green, as a twine handle adds to its crude and rustic charm.
At Ayala, Querubin’s collection takes on the charm of antiquity and the natural
earthiness of clay, such as “Desertscape,” a piece created with rocklike texture subtly
colored in various shades.
“Mini Vessel” echoes primitive earthenware complete with roughly etched lines and
figures on its surface.
The Ayala show also displays Querubin’s prints from the early ’70s, where she has left
an indelible mark.
A self-taught artist, Querubin has boundless creative energy. Her show at Liongoren
exhibits her love for the written word, such as in her second book, “Peace and Joy,” an
intimate account of her spiritual journey that contains images of the paintings also
found in the exhibition.
Clay’s versatile characteristics used in forming functional or purely sculptural purposes
are still being explored through unending experimentations by other clay artists.
Querubin’s pioneering spirit and quest for artistic excellence has no doubt contributed
to its development as a fine art today.

LINK: http://lifestyle.inquirer.net/98927/pioneer-clay-artist-nelfa-querubin-mounts-
homecoming-exhibits-at-liongoren-ayala-izukan/

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 LIV VINLUAN (b. 1987), with her evolving
yet distinct visual style, has created images that merge both realism and
fantasy: scapes and portraits that evoke intensity and movement. Vinluan
finished her Fine Arts degree with honours (cum laude) at the University of
the Philippines College of Fine Arts. Her undergraduate triptych series, Sin
Verguenzas, won the college’s Dominador Castaneda Award for Most
Outstanding Thesis in 2009. Vinluan will be taking her Fulbright scholarship
within the next two years in New York.
http://finaleartfile.com/artists/liv-vinluan/