Roberto Chabet Rodriguez (1937-2013)

Photo by MM Yu

In his notes to the exhibition, Regarding Place, No Place, exactly 17 years since it opened at the Art Center in SM Megamall, Roberto Chabet wrote, 'Art implies place. It depicts space, exists in space, and is perceived in space. Placement, location is central in art. The artist stakes out territories, establishes boundaries, or represents a sense of place. This sense of place is the artist's sense of self.'

On his work, he wrote, 'My sense of place is literal - the exhibition space and the virtual spaces generated by my installation. Though seemingly non-referential, the work alludes to geography - or geographies.' (source: Asia Art Archive)

Chabet: A Collective Memory by Ringo Bunoan and her reflection on the series of exhibitions from 2011-2102.   http://www.plantingrice.com/content/chabet-collective-memory (courtesy of plantingrice.com)

Pier and Ocean, 1996. Plywood, Acrylic, Hinges, 243 x 84 cm x 670.56 cm x 365.76 cm. (photo credit: manila art blogger) 

Elmer Borlongan: Painting as if Life Depended on It

BY JAY BAUTISTA |

(Reprinted from Vision Petron Folio September, 2011)

Photo by MM Yu

In his book, “Letters to a Young Poet,” the eminent advise of the Rainier Maria Rilke to a budding poet seeking counsel to his poetry, he remarked: “one must ask oneself in the most silent hour of the night, must I write? And if this rings out in ascent, if you meet this question with a strong, simple “I must” then build your life in accordance to that necessity. Your whole life, even into its humblest and most indifferent hour, must become a sign, and witness to this impulse.”

Aki, Acrylic on canvas, 1993. Pinto art Museum Collection

This thought came as I view the body of works of visual artist Elmer Borlongan. With a career spanning more than 25 years, mixing three coats of paint with a bleeding heart for the downtrodden of society has been his life. Seriously drawing as early as 11 years old, Elmer would eventually be trained to be a muralist and comic illustrator. A fine arts graduate of University of the Philippines in 1987, Elmer was part of the defiant art group Salingpusa and eventually Sanggawa, a collaboration of artists during the 1990s that painted murals tackling the major issues of the day in a unified and creative manner often fusing satire and strong comment in our society.

As evident, one does not see bright skies and colorful landscapes in his pieces, rather one realizes that in his dark and desolate images, one is renewed with hope in this urban decay we all lived in. Often elongated and contemplative, Elmer’s cast of characters shows their private sorrow and quite psyche. We often pass by and take them for granted – the sampaguita vendor who has to work before school, the group of young boys in over grown shirts who beg and live in the streets, the drivers lounging in car parks waiting for their bosses to emerge from their respective appointments. 

Gabay, Oil on canvas, 1994. Enrico Santos Collection

What makes Elmer special is he is one of  us. His paintings with starkly figures isolated in a desolate city have won for him honor and awards in art competitions. He sees its value in them in promoting one’s artistic message and distinct style. Also his continuing education would also come with teaching art to street kids hoping the imagination would pave for them the promise to see life in a different perspective. 

Since marrying another painter, Plet Bolipata, they have settled in Casa San Miguel, an arts initiative center promoting community development, in the middle of a mango plantation in San Antonio, Zambales. After judging in Vision Petron 11, we asked Elmer some questions in relation to his art and career path:

When did you decide to become a painter? 

I started painting when I was 11 years old. My aunt introduced me to painter/art teacher Fernando Sena. I then enrolled at the Children's Museum and Library, Inc. or CMLI art workshops in Quezon City as a scholar. I have been painting since then.

What is it in painting that makes it best for you to express your thought
and ideas?

The art of painting is a tedious process but I enjoy it. I can spend hours contemplating in front of the canvas drawing and slowly applying layers of paint. 

I start with an idea in mind and manipulate the images by exaggerating the proportions to heighten the emotions of my subject matter. There is no limitation in forms. 

The artist is in complete control of the art materials to express his vision.

Who were your influences in your artistic style? Would you have major periods in your impressive career? How did you come up with your images you are known for?

My training in UP Diliman College of Fine Arts exposed me to many foreign and local artists. As a young art student, I admired the powerful works of Kathe Kollwitz, Max Beckmann, Otto Dix, Egon Schiele and Balthus. 

I am moved by the murals of the Mexican triumvirate Diego Rivera, Jose Clemente Orozco and David Alfaro Siqueros. My favorite local artists are Danilo Dalena and Onib Olmedo. I decided to experiment and expand the figuration of human form. I wanted to depict the everyday life of ordinary people without the constraints of academic training.

As you have been product of art competitions having won some yourself, what to you is the value of these contests to one’s long-term artistic endeavor?

Winning in art competitions is a confirmation of one's artistic abilities. Being recognized by the art community will boost a young artist's confidence to pursue his chosen field. In a way, it is also a ticket to being accepted in major galleries and a good introduction to art collectors. 

We read that you are inspired by this quote by Vincent Van Gogh, “Not a day without a line.” Can you briefly discuss your work discipline? 

Drawing is a constant habit of mine. I always bring a sketchbook wherever I go. Most of the time, I draw from memory. Sketching is an exercise not only for the hand but the mind as well. I keep dozens of sketchbooks tuck away in my studio.

I would go through them seeking for images to develop and then translate it in large canvases. My painting hours are from early morning till late afternoon. Evenings are spent for reading and watching movies.

What would you proudly consider your major works? Would you have a dream project, something you still want to achieve in the future?

I will leave that question for the public to answer which ones are my major works. I treat everything equally. If given a chance, I still want to work on large-scale paintings and public art for many people to view. 

A retrospective of my works will be a great culmination to years of struggle as a visual artist.

Pag-ahon, Oil on canvas, 2011. Louie Bate Collection

You were part of Salingpusa, an art group created public murals whose powerful images were very critical to the times then and were social commentaries. Looking back now, how has the group influenced or molded you into a better artist and person?

Salingpusa played a great role in my life as an artist.  I met Dr. Joven Cuanang, a supportive patron of the arts, who gave us young artists the much needed emotional and financial support required to make it in the art world.  I bonded with fellow artists who were good friends and equally minded in the pursuit of art.  

You are now based in Zambales, has the distance provided you with a better perspective as to your art practice?  

Whether in Mandaluyong or Zambales, I still keep a regular schedule of painting from 8 - 5 p.m.  My subject matter is still about the human condition but probably injected with a little bit of provincial laid backness.  

Being away from Manila has allowed me to step back and see the bigger picture.  Here, you realize, Manila is not the center of all things.  Commercialism is not the "be all and end all" of this community.  Farming and fishing are still integral means of livelihood.  Life here is very simple.  The air is fresh.  And the surroundings, neat and clean.  

Drivers Lounge, Oil on Canvas. Artist Collection

When one thinks of an Elmer Borlongan piece, there is always something to learn from and a way of understanding society. Although dark and with tension, are you still hopeful that one day we will see smiles in your figures someday?

My vision is to record images in my environment.  I'm still drawn to subject matter that is witty, disturbing and yes, dark and filled with tension.  You may not see them smiling but deep inside you know they are surviving happily in their own little way.

What would you advise the young artists of today?

Keep painting despite the financial limitations. Use what is available. Study the works of masters and create your own identity. Open your mind to your surroundings and follow the developments of Philippine Contemporary Art.

The Caricatured Life of Kristoffer Tolentino

BY JAY BAUTISTA |

The more the world (or should we say artworld) advances the more one appreciates illustrators and the old manual labor that they do.

Considering himself a painter, sculptor, installation artist, art/music instructor and a digital art practitioner, 28 year-old Kristoffer Tolentino is foremost a caricaturist churning out masterpieces from acrylic and ink on canvases. At a young age he already manifested a passion for doodling characters in his neighborhood of Bahay Toro in Quezon City.

“Lahat ng tao may istorya. Ang sarap i-drawing ng mga buhay-buhay at mga pangyayari sa araw-araw na di na gaano napapansin dahil sa sobrang pagkaabala natin sa mundo,” laments Kristoffer.

He adds: “Nung bata pa ko mahilig na ko gumawa ng mga drawings na punong-puno ng mga maliit na tao at ikwini-kwento ang buhay nila sa pamamgitan ng pagguhit. Ginagawa kong caricature lahat ng nakikita kong mga tao at sila ang ginagawa kong mga character sa aking nililikha. Nag-iba lang ako ng estilo nung mag-fine arts at na diskubre ang mga iba pang estilo. Nakagawa na ko ng mga artworks na gamit ang estilong surrealism, realism, abstract, mixed media at iba-iba pa at kahit sculpture. Pero bumabalik pa rin ako sa caricature na ganitong estilo ko dahil dito na rin ako nakilala.”

Super Juan, 2012 (Acrylic on Canvas, 4ft x 5 ft)

Having met Kristoffer during his student days at the University of the East Caloocan College of Fine Arts, I was amazed at how his creative practice has fully evolved and how he constantly improves himself by each artwork done. He just finished a commissioned piece Super Juan (3ft x 4ft acrylic on canvas) when we recently touch based last year. Known for his deep sentiments in every piece he makes, he confesses:

“Si Super Juan ay hango sa isang super hero. Ngunit hindi siya iisang tao lamang, kundi binubuo at sinisimbulo ng bawat Pilipinong nangangarap. Gumagawa sila nang may pagkakaisa at nagtutulungan upang makabuo ng isang matatag at malayang bayang puno ng pag-asa. Naniniwala ako na may Super Juan sa bawat isang Filipino.”

Noticing the tediousness in his work process, Kristoffer illustrates directly on canvas without an aid of scratch pad or even pencil: “Gumagamit muna ko ng ink/ ballpen pang sketch. Hindi ako gumagamit ng lapis dahil ayoko nagbubura. Bukod sa nakakadumi ng artwork, tumagal ang pagtatapos ko sa isang piesa. Minsan nga iniiwan ko na lang yung marka ng ballpen.

Pagkatapos nung sketch, kinukulayan ko na per scene yung ginagawa ko. Mas di nakakasawa kung pa-eksena eksena ang pagkukulay. The medium that I use is acrylic combined with different colored inks. I chose acrylic to paint the canvas for the first coating with heavy colors then wash style for the second coat. I made it detailed by using colored ink and lastly, for the final touch I scratched blade to the canvas to add highlights and life to the painting.

Parang akong nag-oopisina kung magpinta. Simula alas-8 nang umaga pagka-almusal tapos break ng lunch. Pinta uli hanggang hapunan. Madalas overtime pa after dinner.”

Lakbay Diwa, 2012 (Acrylic and Ink on Canvas)

Another whimsical study of life’s imaginative ironies is Lakbay Diwa: “Tungkol sa paglalakbay ng diwa sa isang malayang bansa. Malayang tumawa, maglaro gumawa at higit sa lahat malayang mangarap. Pinalad itong 3^rd place sa Maningning Miclat Art Award 2012 na ‘Ang Pangarap kong Bayan’ ang tema.”

Kristoffer’s influences are as varied as the theatricality of his people. Obvious are the vivid cartoons of Larry Alcala and Pol Medina. Even the very people in Dasmariñas, Cavite have been depicted in his imaginative situations. However it is mainly his father Jesus Tolentino who had a strong imprint on his art. Unlike other parents who discouraged their offspring to be artists, the elder Tolentino who was a former editorial artist in newspaper and former art professor in UST was very encouraging in following his footsteps. Seeing the elder Tolentino being creative everyday assured Kristoffer that it was alright if he took the rocky yet fulfilling road of art.

It may be the competitive nature of his college mates that the lure of annual art competitions became another drive for his to excel in his craft: “Para sakin lahat ng art competitions iba-iba. May tema man o wala, gusto ko salihan para magamit ang iba- ibang estilo ng paglikha ng isang obra. Pero kung papipiliin, gusto ko magkamit ng isang award sa ibang bansa gamit ang estilo kong ito. Filipino-tradition inspired ito para maipagmalaki sa buong mundo ang style  na nagmula sa ibang bansa pero ni-render gamit ang estilo ng isang Filipino.”

Buhay Dagat, 2012 (Acrylic on Canvas, 3ft x 4 ft)

 
This epiphany is more evident in works such as in Buhay Dagat. With a unique perspective, his cartoons come alive in full color. It is almost cinematic. Having developed this somewhat surreal yet comical genre, Kristoffer offers a composition that is his own. Shown here is an emphatic blue wave while the sea of characters that features the comings and goings of a life by the shore. “He is heir to the young Larry Alcala,” as one art writer crowned him. Here is hoping Kristoffer will continue to elevate the art of illustration as initiated by the late great cartoonist.

Kristoffer is firm in his belief of the power of education and value formation of a cartoon to what we conservatively associate it with. He defends it further: “Dapat may attachment yung gawa sa mga viewers upang magkaroon ng halaga. Higit sa lahat makapukaw di lang ang emosyon kundi ng atensyon ng bawat isa. Maging isang inspirasyon sa mga makakita nito.  Kaya kadalasan sa mga ginagawa ko puno ng buhay at masaya. Natutuwa akong ngumingiti mga taong nakakaita nito.”  

Robot 3, 2103 (Acrylic on Canvas, 2 ft x 2 ft)

Part of his ongoing series of these highly-mechanical gadgets is Robot 3. In this Robot series he points out we have become numb in chasing life’s senseless things that we do (or ought not to) become distracted or are in ourselves our distractions to the supposed more mundane focus of our daily lives. This somewhat disturbing message mixed with Kristoffer’s depth of color and shafts of light are hallmarks of his own visual style.

For me an interesting artwork should involve a well-thought concept with finely-executed craftsmanship that takes time to marvel at. The more hard work one pours on it, the easier one reads his image/s. Looking at Kristoffer’s works, one becomes unmindful such that every time one views/re-views his paintings one gets as many interpretations yet. His images capture the many hopeful frames in our minds, either for our country or simply for one’s distinct pleasure. There are no untoward or ill-perceived perspectives for Kristoffer. His pictures come in stress-free as he defines them with positive Filipino values now slowly fading into oblivion, as fast as one clicks to be instantly online.

In an art scene where there has been a deluge of personal angst and emo-driven wall-bound expressions abound, Kristoffer’s art is as social as hanging out at the nearest sari-sari store or corner barber shop. It is as Asian as throngs of masses are just part of the bigger tableau. They are his family, friends, neighbors and faceless Filipinos he sees everyday in the streets, in the 6 o’clock news or in his fertile imagination. His genre is not a reaction to another art movement but a very scientific and learned way to come up on his own. 

Sometimes the best way to look at life is not in one big chunk but in small bites. In slices, savoring that feeling or thought, without being nostalgic or forceful. Kristoffer chronicles the times, not in the grand scheme but in mere moments past. A blotted reminder of who were are and what we are capable of.

A Tiger With a Lens: The Photography of Paul Quiambao

BY JAY BAUTISTA |

Despite the emergence and the easy accessibility of digital camera in recent years, viewing prevalent photographic practice as an art form in the Philippines is still a blurred picture. Photography has yet to evolve from its commercial roots into a discipline it was meant to be, more than a century when it was first introduced to our shores. More so, lacking is a substantial writing on contemporary photography. One finds signification in the examining production of images taken from its various genres such as photojournalism, or government institutionalized images (even reading the positioning in photo opportunities), to how we portray our weddings has specific readings. 

Not that there is a dearth of worthy recipients, there has never been a National Artist awarded to a photographer though many a master lensmen have brought honor to the country by winning international photo competitions and exhibiting abroad. Rather photography is just relegated as one of those subjects under visual arts.

My belief in photography was reawakened with this young photographer who should we say obviously became obsessed with his alma mater as his subject. But I am writing ahead of my story.

Paul Quiambao considers himself a late bloomer in the arts, his epiphany arriving only after documenting his mother’s Christmas party at the Bank of the Philippines Islands Head Office in Makati when he was barely 12-year old. It was then that Paul began his love affair with the camera. He was just in first year high school.

Unlike other parents, Paul is blessed to have supportive ones: “My parents taught me to be independent and appreciative of my surroundings. This value resulted in my being a maverick; I work best when I’m alone.”

Santo Tomas, You are Stunningly Beautiful, 2011

A Realization called ArtPetron

As fate would have it, Paul entered University of Santo Tomas (UST) just as it was gearing up for its quadricentennial celebrations in 2005. As an inquisitive freshman, it was the UST Main Building that initially fascinated him: “First year pa lang ako, masyado na  kong attracted sa UST Main Building, shinu-shoot ko na lagi.”

Looking back now he noted how he wasn’t impressed at all with the photos in the Varsitarian, the university paper. The opportunity to make a change, or be the change could not have come sooner. In 2006, the Varsitarian photo editor announced an opening for photographers in the paper. As a sophomore, with fire burning in his belly, Paul submitted sample works and was immediately taken in. This was the same year he won in ArtPetron (now Vision Petron).    

On the two consecutive occasions he won in ArtPetron, Paul preferred quality over quantity, and submitted only three photos as entries. “I have always been disciplined on quality,” he emphasizes, “and even if ArtPetron allowed unlimited submission. Restraint is a quality a photographer must possess.”

His Favor of Carrying The Largest Human Cross

On March 9, 2011, Ash Wednesday, the officials of the Guinness World Records (GWR) watched as UST community of 13, 266 UST students and faculty formed a human cross and was still for five minutes in prayer. This beat the previous record of 935 people in red forming a giant Red Cross set at the Oslo Opera House in May 2010.

Paul was assigned to photograph this historic event, which was UST’s concrete collective contribution to its quadricentennial celebration.

“I was chosen to do this task because of my being a two-time ArtPetron grandprize winner. The UST Rector called the adviser of Varsitarian and inquired of this award-winning photographer who won twice in ArtPetron. I was called to his office and immediately given the responsibility.”

Recalling the incident, however there’s more to this story which makes Quiambao more thrilled.

Through the generosity of taipan Lucio Tan, a helicopter was made available. Meeting place was at the helipad of the Century Park Sheraton in Pasay City. The agreed time was that at 3:34 pm they should already be at the vicinity of UST for the official five minutes of being still to be recorded by GWR.

“However at 3:54 pm we had not left the helipad. My superiors at UST were already getting worried. The helicopter would and could only accommodate four people. Lima kami -- dalawang piloto, isang member ng Presidential Security Group (dahil dadaan over Malacanang), official photographer of Lucio Tan and me,” Paul narrates.

Paul was able to convince the photographer of Lucio Tan that he would just give him his best shots. To make the long story short, they were able to finally leave after the delays and infighting. Paul felt as if God orchestrated the act, by the time they reached UST it was already 4:11 pm, or as their watches were synchronized it was 16:11, the digital year UST was founded.

It was this time he felt the anointing spirit of his calling: “naramdaman ko na may mission ako sa UST. Di ako basta photographer dito. It was serendipitous that I am in UST,” Paul believes.

As earlier reported that day, because of the bad weather, the pilot said they could just go around UST quadrangle only once. Paul must take as much shots as possible. Again, as if God opened His window, they were able to go round the assembly ten times without interruption! And Paul’s best shot was the one with the sunlight beaming on the whole human cross, as if it was spotlighted.

Paul describes: “Buong university madilim, sa cross lang may ilaw. Yung sunray, nag-form into cross. I considered this my turning point in being a Thomasian. Pagdating ko sa UST, tumakbo agad ako sa simbahan to thank God, that I was privileged to do the task.”

World's Largest Human Cross

400 moments for the 400 years

With the wealth of Paul’s photos taken of the many facets of UST, he first thought of the 400 photos to mark its quadricentennial anniversary.

Entitled “400 Shots to Immortality, Timeless Photographs of the University of Santo Tomas Towards its Neo-Centennial,” his eagerness for UST was rejuvenated. Since he was an insomiac, Quiambao would wait for the perfect sunrises at UST buildings.

“Biased aside, lahat ng panahon maganda sa UST. It is a heaven in the middle of a desperate city.” Paul beams with pride. “Wala akong pinapiling araw o kundisyon for UST. One must work with the weather, there’s no such thing as perfect. I have shot UST in almost weather possible -- rainbow, kidlat, lunar eclipse, moondog, sunrise, sunset, even mini-tornado.”

Was it Paul’s aesthetic sense of architecture that became his canvas for creation or it was his pure passionate love for his alma mater that drove him to achieve such meticulous perfection?

Even Paul was amazed at his somewhat obsessive work ethic: “I would even stay overnight on a rooftop just to get a shot. Who would opt to capture UST’s gaudy rooftops on its seminal laboratories in the wee hours of the morning?”

In zest, Paul speaks further “another favorite time was when it rained kasi sure may reflections, something I became known for.” One of my most memorable shot was when I spent overnight at a tower just to frame a sunrise over the UST Main Building. A security guard had to wake me up and say ‘Paul tingnan mo sa likod mo.’ That’s when I saw a beautiful rainbow on top of the UST Main Building, which has always been on top of my wish list.”

Like a revolving carousel, his fun never stopped. “I was really after quality. The 400 carefully selected photos had to be timeless and still relevant when UST’s 500^th anniversary comes along. In fact, the day of the opening I was still shooting. That week I literally didn’t sleep and I had whatever chicken pox left in my skin. Until now, after the 400 photos marami pa rin akong di nailalabas sa UST. Sinacrifice ko sarili ko para makita ng Thomasians na maganda pala ang UST.”

Aside from reflections Paul ’s trademarks in his photos are fireworks and sunsets/sunrises. He also leans towards the unusual, more like puzzles for viewers to trigger them as to ask how the shot was taken and how the photo turned out to be.

“After 50 years gusto ko balikan and take another photo of these place. Given another chance, I will do it again,” he sentimentalizes.

Neo-Centennial 2012

Lasting Impressions

Symbolizing UST’s commitment to Excellence, the Benavidez Outstanding Achievement Award is given to students who have “extra excellence” in their respective fields. Given annually the Benavidez award is named after Bishop Miguel Benavidez, OP who in his desire to put up an academic institution bequeathed his funds and donated his personal library for the establishment of UST in 1611.

Paul holds the distinction of having been awarded with the most Benavidez trophies – four (out of the five years he has been a student). Two were for his two grandprize wins in ArtPetron. His third Benavidez award is a collective one, as he was part of the Varsitarian Quadricentennial coverage as its photo editor. The fourth is his being the Philippine delegate in the Asean Youth Camp in Indonesia in 2012.

Castlevania, 2012

Paul confessed that he did not previously have any formal technical know-how of a camera. He acquired the skill the long and hard way, by shooting as many images in the streets as possible: “Trial and error. I do not like to be confined with the technical complexities of photography. Mata pa rin ang importante.” Although the learning curve is long, he is fulfilled.

The Founder, 2011

In a world where everyone who has a camera considers himself a serious photographer, he advises that one must become more responsible with the photos one take.

To this day he would still receive thank you notes in his Facebook account for his contribution of bringing out the beauty of his alma mater. His photos showed – not a 400 year old institution -- but a living dynamic and iconic educational institution.

Currently, he is part of the forming of Fotomasino, a UST-based Photo club, initiated together with alumni and more advanced photographer students. His advice to budding lensmen is the investment in time: “You have to be there at the right time and place. However minsan talo ka. Kahit ang tagal-tagal mong naghintay, overcast pa rin or pangit ilaw. No one can predict the right formation of clouds and sunset. Second, dapat may puso ka, kailangan passionate ka sa ginagawa mo kahit anong mangyari. Dasal, diskarte, tiwala, ‘Wag susuko.” 

Brand Dex

 BY JAY BAUTISTA |

As the end of the year draws near to a grinding halt, one particular very visual artist came to mind with his significantly growing body of work of late. Although he temporarily retired his oil and acrylic paints in the meantime, these past two years Dex Fernandez has been constantly and consistently producing beautiful handcrafted illustrations. Not only on paper but on almost any colorful rendering with ink that can be imprinted on like bags, toys, and even directly on the walls. In one of its past annual art issues, Rogue magazine first noticed him as “raw, organic and somewhat spontaneous, Dex mixes media like a chef does his fusion thing with traditional drawing. Only with Dex the results are always fresh and he seems to have a way with place everything in one frame. The July 2011 issue of Juxtapoz magazine mentions: Operating on various layers of meaning, the practice of ornamentation in the hands of Dex Fernandez turns into a play of signs that collide to construct new associative concepts, where the third meaning subsequently produced illuminating previously unseen messages. Fernandez works with found images and material that he collages together to create fantastical figurative compositions, adding further to the mix is another skin inscribed with personal design, esoteric languages, chimera, and imaginary landscapes, all of which serve to create a labyrinth of possibilities. His interest lies on the investigation of found memories and its deconstruction through transformative appropriation.
 

A multi-media piece entitled Nothing New Day Today immediately comes to mind. Ever the flaneur, Dex walked pass him staring blankly at him. Shirtless he regaled his tattoos and for some strange reason Dex found him odd that day. Not to let the moment slip away, finding him exuding with character, Dex asked to photograph him. Of course his friendly neighbor was too carefree to even bother at all.

What would immediately impress upon the viewer is how Dex abstractly decorates and composes the images simulated with his self discovered forms and figures. Dex (on his process) “hindi lang siya pandekorasyon. Life cycle siya ng tao. Nung moment na na-spotan ko habang nakatambay at naninigarilyo, pumapasok agad sa isip ko ang cycle ng buhay natin. Sa kwento nya sa akin, dati ok ang buhay nila nung bata sila. Nung nagbinata hindi na nya natapos ang pag-aaral at maaga nakapag-asawa at nagkapamilya. Hindi natupad ang mga ilang pangarap nya at natali na sya sa gantong klaseng buhay, which is tricycle driver at hindi ganun kasapat ang kinikita para sa buong pamilya nya”

“Yung linyang My Wife is Still a Slut lagi kong naririning yan sa kapit-bahay namin. Pawang natural na lang binabanggit niya sa tuwing nag-aaway silang mag-asawa. Naiisip ko wala sila pinag-kaiba ng sitwasyon ng taong to sa kapitbahay ko sa pang-araw-araw nilang buhay. Frustrated at walang harmony sa kanila. So pinag-sama o pinag-isa ko na lang ang story nila at pinamagatan kong: nothing new today.

Knowing Dex since his student days at the Technological University of the Philippines (TUP) Manila, one notices the hard work he has put into his chosen visual style. As an inherent researcher who constantly strives to improve his art, he has made a giant leap from being 8am-5pm graphic designer drawing packaging stuff into a relevant fine artist in a disciplined contemporary mold. Although significant with oil/acrylic before finding favor in inks on paper, he is now at his very element with invitations to art residencies abroad and commissioned art projects here and there. 

Nothing new today

size: 62in x 42.5in

2011

Die, Die My Darling and Naivete, Mixed Media on Photo, 2010

 

From the streets to the walls: Rounding up the Riot

It all started with a pair of vintage posters of a girl with roses and another, a pair of girls from a bygone era, Dex stumbled upon the streets of Sta. Cruz, in one of his frequent wanderings in the shady alleys of Quiapo.

“Naiisip ko pang-short term lang ito at hindi naman all the time ay nakakabili ng ganitong klaseng material. Nag-come up ako sa photography, bakit hindi? Naiisip ko din wala pang gumagawa sa atin nito at bago sa eksena kung aaralin mo ang Philippine art history natin,” Dex looks back.

“Umiikot lang naman lahat sa history at nauulit, pero kung masaktuhan mo ang cycle na ikaw naman ang gagawa, make sure na may originality ka pa rin, at di pa rin tatalon ang transition ng work. Nagbago nga ang style ko pero kung aaralin mo mula sa mga painting at illustration ko noon, naia-apply ko pa rin naman mga teroya dito sa mixed media on photo, makikita sa mga elemento na ginagamit ko although nagbabago na rin sila.

Having admittedly moved on from the bold brushstrokes of paint to the very meticulous detailing of ink Dex adds: “Mas-masaya kasi akong nagi-illustrate ng story, mas-narrative at layered. Minsan parang painting na rin kung titignan kasi nandun na yung touch ng conceptual. Di ko alam kung tama ako pero nandun pa rin yung kaba pero yung surprise of creating something astounding. Andun pa rin ang attack ko na makulay masaya, pero sa likod nito ang mabigat na nilalaman.

hey idol how you doin'? (tattooed jc series)

size: 2ft height by 20 in.

The Vermont Pause

The Vermont Studio Center (VSC) holds the largest international residency in the United States every year since 1984. Founded by Jonathan Gregg, Frederick Osborne, and Louise Von Weise, the VSC is located in the town of Johnson in Vermont which hosts more than 50 artists and writers each month. Since January 2007, George Pearlman succeeded Jonathan Gregg as it's Executive Director and in November 2011 Dex was fortunate enough to be given full grant (round trip airfare free board and lodging) for the second try (the first attempt was only half grant) to spend more than a month there in solitude to focus on what he aspires doing best.

Unitl this day, he could still feel the expanse of his big white studio with only a chair and a table as furniture, with unlimited natural sunlight coming in. Here he got to interact with other first time artist- residents during lunch and dinner and through one-on-one studio visits.

Actually the Vermont Studio Center has been generous to upcoming and established Philippine artists. It has fostered the middle careers of Robert Feleo, Brenda Fajardo, Bernardo Pacquing, Alfred Esquillo Jr., Louie Cordero, Don Salubayba, Rodel Tapaya, and before Dex was Julio Austria. VSC has been a sort of rite of passage for contemporary young artists like him, who want to temporary escape a life of mobile phones, TV, and the humdrum of city life and do what currently fascinates them.

“Halo-halo ang mga karanasan ang nakuha ko sa Vermont. Ang makakilala ng mga bagong foreign artists at lumawak at iba't-iba ang mga pang-unawa pag-dating sa art. Iba rin ang kultura nila na kahit paano ay may idea naman ako, kaya madali ko na-adopt sila. Mas-naging open-minded ako at natuto makinig sa opinion ng bawat isa, Natutunan ko rin i-respeto pangit man o hindi ang isang idea, tipong ganun, na may reason,” Dex explaining like talking to himself.

“Nung unang makita nila ang mga pyesa ko na mga mixed media on photo, nagulat sila kasi hindi nila ine-expect na may gumagawa na pala ng ganung istilo sa Pilipinas. Wala rin silang idea kung anu-ano bang movement ng art ang nage-exist sa bansa natin, kaya nagka-interest pa sila na kilala ako at kilalanin ang mga trabaho ko at kilalanin din kabuuan ng art scene natin. Tanggap nila ang work ko dahil sa kanila bago ito,” he happily realizes.

An Auckland-based artist known for his lounge room tribalism series, Graham Fletcher was the first Dex befriended there, he adds:

“I recall now he was the first resident I met and I immediately liked
him as someone friendly and easy going. Observing Dex throughout the
residency, it was clear to me that he was an extremely talented young
artist with a bright future ahead of him. In December, we were both
invited to exhibit new work at the VSC Red Mill Gallery. The
invitation to exhibit was only extended to international residents on
fellowships, which was just the motivation we needed to complete work
in the remaining time.

Dexter was first to wake up, and many of us were amazed with Dex's confidence
and ability in creating work within a relatively short amount of time.
His energy and enthusiasm was infectious and rubbed off on many of us.
Dex produced a layered and complex show with wall drawings, video, and
paintings on large photos. It was a stunning show that combined
aspects of portraiture, street art and Catholicism in provocative and
interesting ways as well as showcasing his highly developed visual
language and sensitivity to paint.

Without a doubt it was a pleasure meeting and knowing him, and for
many of us, he made the long winter days at Vermont all the more
bearable.”

B/W

Back to Caloocan: Call, Look, Can

“Simple lang ang routine ko” replied Dex on my inquiry on how his day starts. “Paggising ko sa umaga like mga 9am, kain muna at kape. Punta sa studio saksak mp3 para pang-pagising ng diwa. Patugtog ng mga paboritong kanta sa playlist para masma-inspire. Kutkot konti sa trabaho. Maya-maya lunch na agad, ayun, after lunch mas tuloy-tuloy na trabaho hanggang gabi. Kakain na lang ako pag nakaramdam na ko ng gutom. Mga 2am na ko natatapos sa isang araw,” he wraps up.

It is also important for him to relate to his artist-friends and keep up the healthy discussion of ideas between their creative endeavors. Or Dex never misses an exhibit opening whwener he hears one. He likes to simply hang-out with artists. Dex stresses: “Pero pag may mga ayaan ng mga kaibigan di rin naman ako tumatanggi. Pampalipas din ng pagod sa buong araw. Para pag-uwi, pagtulog, kinabukasan inspire ka na ulit mag-work, masarap ka-hang out mga kapwa artist. Malaking tulong ang binibigay nila.”

Remaining disciplined and focus he affirms “Kapag kaharap ko na pala ang trabaho ko, nawawala na ko sa reality, ang focus lang ng sarili at isip ko ay nasa work ko lang. para ba kong sinasapian at wala na kong pakialam sa iba.”

Dex is pure character and an embodiment of carefree spirit. He is an epitome of parodies that somehow compliments his art. Quite slim and lanky it was quite ironic that he wore a wrestler wear during the opening of his first one man exhibition at Pablo Gallery at the Fort. In hey idol how you doin'? (tattooed jc series), shown at the SLAB, referring to images of a tattoed what is supposedly Jesus: “Ang religion ko ay respeto at pagmamahal sa kapwa. Love and respect. Ang issue ko dito ay patungkol pa rin sa idolatry. Idol ko si Jesus Christ, pero at the same time naiinis ako sa idolatry. Para sakin si JC ay isang best example ng isang pagiging rockstar. Kung may rockstar na term nung panahon na yun siguro sya yung nag-iisang totoong rockstar nun. Tinattooan ko sya kasi yun yung typical rockstar look, pero test ko rin to sa mga viewer kung paano nila tatanggapin ang isang malinis na imahe na may dumi ng art. Experimental pa rin.

Continuing his exploration with very sensual and sexual themes, in his recent show at the West Gallery, it seems Dex is somewhat intrigued at how we behave or get affected by these matters into our subconscious. He realizes further: “ang porno naman ay isang bagay na hindi pina-uusapan ng mga tao, lalo na ang mga conventional, para sa nakararami, isa itong taboo pero para sa akin normal lang itong nangyayari. Sa harap o likod man ng kamera, kung nung mga unang panahon pa lang noon ay may konsepto na ng kamasutra, bakit hindi sa ngayon panahon natin.”

May laro sa isip mula sa bagay na pinapaniwalaang pangit, masama, at hindi maka-diyos. Makikita mo dito kung panu ko paglaruan ang mga pyesa sa pamamagitan ng iba't ibang approach. Pangalawa, gusto ko din mag-laro ang isip ng mga viewer sa kung ano ba ang perception nila sa mga bagay na ito. Gusto kong mag-iwan din ng tanong sa kanila, dahil sigurado ako may sagot din sila.

The remarkable thing with Dex is whatever colorful forms and patterns he interfaces with photos he equally does with black and white illustrations. It could be persistent ticks found on every nook and cranny of toilet bowls, under jeepney leather seats or its favorite hairy haven in the fuzziness of a dog. This is his take on the Filipino diaspora “that Filipinos are survivors everywhere no matter where. Sometime they put one on the other just to make things happen. Minsan naman nagpapaka- sell out sa ibang paraan” he philosophizes.

Similar to what he did in Vermont, from time to time, Dex would revert to drawing murals as sort of leveling off to the kind of abstraction he encounters in his other visual styles. He even have it witnesses with time lapse recording that he even posts online. He feels grounded doing this. There is a sort of fleeting impermanency in the act. The thought of leaving all these after spending all those hours when one is done is such an ethereal, close to even a monastic experience for him. Last September Dex was invited in Taipei, Taiwan at the Pingpong Artspace to do a large piece he calls "B/W/TPE" (black and white Taipei): “BW kasi color scheme na ginamit kong kulay. Saka wala gaanong malalim na concepto kundi base lang din sa experience sa lugar at sa mga tao dun. Kasama yung natutunan ko culture at sub-culture nila naki-pagcollaborate din ako sa mga local artist dun. Mix and collages na sticker yung invites ko kasi gusto ko mag-stick sa mind nila yung project na ginawa ko dun. kahit alam kong katuwaan lang at walang malalim na konsept

So young yet quite unassuming when discussing his art. Dex is my fervent hope that all will be well with the art scene this coming year. 

:-) by Dex Fernandez opens at Pablo Gallery at The Fort this January 12, 2013.