Kristoffer Tolentino: Mass Executions

BY JAY BAUTISTA |

At a time when the President of the Philippines has yet to finally affix his signature to the formal confirmation of a foremost illustrator as a National Artist Buklod Buhay sa Gawang Makulay by award winning visual artist Kristoffer Tolentino is a reprieve, an intervention even, when much local art that is produced are either too emo-ridden or the blatantly Me on canvas. Some paintings these days are even primarily sourced from the internet and are being directly printed on canvas only to be retouched by paints thereafter.

Though only in his late 20s Tolentino is old school—that long, slow and meticulous practice of putting imagination to canvas, from eye to hand with only actual experiences as his references. His media are mixed starting with ballpen for doodling, ink for the outlines, finishing with brushes either with watercolor or acrylic. With painting as his main medium he considers illustration as his primary technique the struggle for Tolentino has always been the consideration that his paintings are not as mere drawings in the legitimate realm of Philippine art.

Kwentong Kalye, 2014, Acrylic on Canvas, 4 x 8 ft.

The easiness of these pieces cannot be evidenced as just interactive throng placed on canvas. Looking closer, like a captured still in a motion picture, one is entertained by its plots and sub plots of the everyday, tugged with comical wit and a deeper humor from viewers who take living seriously.

Kwentong Kalye is the quintessential Tolentino piece if one would like to be immersed with his works. Mind you his scenes evolve in the typical every day, not in a grand or historical manner happening in a typical urban landscape complete with schools, corner eateries, computer shops, hospitals, malls with the tremors of the MRT being felt nearby. Not bound by particular time, eschew of formalities, like a pop-up book everything just happens in one simultaneous movement with Tolentino conducting its public rhythm though not by baton but through his paint brush. As the collective viewer visual claustrophobia could seep in for we too are part of the happening, enjoying the front view adorning from one’s vantage window. Accorded with simplicity as if the everyday was a celebration, to be alive is to breathe and move under the sun. He somehow pauses the moment when all is moving at once. Drawing from a plethora of chance encounters in almost every crowded place he has been to—alleys, aisles, corridors, sidewalks, backstreets--he usually sizes up his canvas for one long and hard look. More picturesque than pictorial, as if we are on a privileged panorama that even drones can’t get this much creative perspective.

With proportion in mind he commences with his trusty ballpen and sketches succinctly. Like in a trance, the process lends itself to organize in more than a hundred caricatures which he never repeats every single one of them. Should there be impermanent ball pen slip-ups he goes through the motion and transforms them with a new one imbibing whatever form that was reborn into. Original in its composition with no focal point, these are not pious scenes. They are raw from ink, organic in evolution without aid of sketch. He does not even know how it will end. He used to finish it off with brownish earth or flesh skin hues, they later evolved into a brightly colored day emanating from a primed white background, with only accents of color that act like curtains of moods.

His titles may be long but they are poetic. Dikit Dikit na Bahay, Kabit Kabit na Buhay proves how community spirit is the highest form of nationalist expression. Inspired by the Badjaos found along the coastlines of Tawi-Tawi, Sulu, and Zamboanga del Sur, Tolentino displays how elevated these houses on stilts to picture how they adapt to live on a different habitat. An informal socialist, Tolentino proudly displays how we all subsequently co-exist in a hustle bustle of a chosen lieu.

Oftentimes the lure of the native is even stronger that Tolentino impresses upon his smaller paintings. He would depict beach or nature scenes where people help one another while they enjoy the exposure of being in the tropics. He captures features idyll destinations as if they were secret places we eager have to find out and go. Fiesta is another habitual cultural tendency for Tolentino where the preparations are uniquely ours and just as important as the event itself. Nothing compares to the experience of being in it, no matter how many times you can go. In a way he has showed how Filipinos should live in the many situations he ushers us in.

Humor is the main faculty of a Tolentino piece--the daily Pinoy-kind, the quick banter we hear from the street or the one beside us at metro trains or public jeepneys. Our three stars and a sun symbol is also a favorite fixture, it should be found somewhere either wrapped on kid’s bag or even juxtaposed as a speeding car. Like the modern Larry Alcala he has often been compared with, one has to eventually look for it, part of the mechanics of enjoying his formations. For good and positive energy, another obvious constant are galore of colorful balloons and hot air balloons of sorts, filled with fancies and fantasies. One imbibes that sensual light feeling of freedom when one is above the clouds, away from the continuous conflict from below.

Technical yet typical for Tolentino is his fondness for lines either from electric posts or strings from kites which is already a lost art he advocates. Ever the sentimentalist he is that kid on the roof who flew his kite to represent his dreams.

It was in ArtPetron National Student Art Competition in 2006 that he first came up with these scenes he has adopted as a style and is now being lauded for. With indigenous arts as a theme, Tolentino won runner up prize when he depicted Filipinos as free and loving craftsmen and artisans.
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Experimenting in that popular art form in the late 19^th century Philippines, Tolentino reclaims the Spanish-influenced letras y figuras into his own. Not wanting to waste life’s precious moments he advocates love for country in the most fun manner--that is who and what makes the Filipino tick. Evident is Pinas where his sense of nation runs high and mighty. Everything best in us are there from industries like fishing, fiestas like the Pahiyas with its Higantes, with warm and friendly folks like us complete the picture.

It was a well-crafted entry to a national art competition that he first came up with his Robot series. With future of technology as its theme, he came up with Robots as the first signal for modernism in advanced science. This mechanical toy-with pun intended-was the old clunky Japanese-kind. Out of discarded things he recreates these mechanical concoction which challenges him that we can still come up with something beautiful from earth’s refuse. They are another theme that he has perfected through time. They even reincarnate as super heroes immortalized to assist others in their own rising again.

As an artist his most precious credential is his integrity and his task is always to speak for the truth. Oftentimes Tolentino, armed with wit and deep respect for fables he comments on how ill people in our decaying society have behaved, he does this through his own version of that long-nosed character Pinoccio. Like a child’s play, Tolentino does this graphically in fine artistic rendition and profound on satire bordering on the surreal. It was this visual style that won for him at the Tanaw Bangko Sentral ng Pilipinas National Painting Competition.  

For its breadth and magnitude Tolentino does not just come up with these scenarios, it drives him to change things for the better one fine canvas at a time. 

By creatively dwelling in the metropolis we should thrive harmoniously, his “mass” blends people all walks of life, regardless of class or gender, paradoxes and all. It is his minute attention to details that are astounding. They are raw, unfazed and oblivious not to be noticed, they even standout.

In Buklod Buhay sa Gawang Makulay each piece is hand earned, innovating performance on canvas, a theatrical tableau even. It is crowded indeed yet no underlying filth or furor around. Mysteriously not even a sad pout from stellar cast. No misery or deprivation in the interaction which seems like a symbiosis. If viewers would glance or even stare on these artworks longer than usual they would reveal the longer hours Tolentino struggled to make their viewing worth their while. One would be tempted to find him somewhere within them as we may even find ourselves literally here.

Ongoing at the SM Megamall Art Center Buklod Buhay sa Gawang Makulay is the first solo exhibition of Kristoffer Tolentino.  

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.