Archives: Artists

“Art is synonymous with breath of life; it is a fundamental act that permeates the core of human existence.” – H. Pineda

Herminigildo “Hermie” Pineda believes in the transcendentality of artmaking. For him, this creative act is immersed in the philosophy of the cyclic phenomenon governing nature and the universe. Human beings are given the power to forge their destiny through sheer force of intellect and willpower. They are capable of shaping their physical, social, and political world. But these occurrences transpire under the universal law of causality and the axiom of nature. Any deviation has corresponding and incremental repercussions.

Pineda’s oeuvre addresses these thematic concepts in several ways: as iconographic depictions symbolizing human ideals, or as mythical allusions purporting the canon of natural environment. Possessing the mastery and technical capability of depicting figuration either realistically or through abstraction as painting, mixed media art, or sculpture, he tackles various aspects of a given theme diversely.

The dual narrative of ‘mother’ as creator and ‘mother’ as nurturer is explored in the low-relief sand and paint pigment mixed media art “ Indung Ibatan ” (2012). Pineda situated five human forms enclosed within the perimeter of circular framework. Two facial features representing a tranquil Mother Nature in repose are seen extruding from the picture plane. Immediately below are renditions of two bare-torsoed male figures paying homage to the giver of life. The hands reaching out to each other signify the male-female bond that created the slumbering child. And at the centre of the forms are two fused triangles emblematic of the merging into one of man and woman’s souls.

In his G.S.I.S. National Art Competition non-representational winning piece “Magkikita Tayo Muli” (2016), he utilized horizontal bisection of space using linear elements to project horizons. The multi-layered landscape with predominant blue, green, and yellow hues highlighted by crimson streaks and hints of vertical linear elements at the edges evoke the desolateness of spirit intimated by separation. Yet, there is some semblance of hope when paths intersect again as an omen of renewal and transformation.

Pineda’s current work “Interface” (2020) explores the realm of digital-referenced art arena. His pixelated format amidst black background presupposes cosmic architecture exhibiting binary configuration of white rectangles and yellow lines. Inter-dimensionality is suggested as overlapping spatial surfaces are perceived by the viewer. There are also noticeable areas of convergence as the elemental forms intersect each other.

Herminigildo Pineda is a two-time recipient of the Government Service Insurance System (G.S.I.S.) National Art Competition Award bagging 3rd place in 2016. He is a four-time finalist at the Philippine Art Award (P.A.A.) National Art Competition, an awardee at the Metrobank Art and Design Excellence (M.A.D.E.) National Art Competition, and a finalist at the Shell National Student Art Competition. He is also the first place winner at the National Commission for Culture and the Arts (N.C.C.A.) Diwa ng Sining National Art Competition, and 2nd place winner at the Department of Environment and Natural Resources (D.E.N.R.) Art Competition. He is the Philippine representative at the 7th Osaka Triennial International Art Competition in Japan, and the recipient of the Most Outstanding Kapampangan Award (M.O.K.A.) for Arts and Culture (Painting).

He graduated in A.B. Industrial Psychology at the Holy Angel University in Pampanga and was a faculty member of the Social Science Department teaching Humanities, Art Appreciation, History, and Life of Rizal courses for 12 years. He took up MA Art Studies majoring in Art History at the University of the Philippines in Diliman, Quezon City. He also did Cultural Lab Studies on Good Governance at Ateneo De Manila University in Katipunan, Quezon City. – V. Tan Gana

Dennis j. Francisco a modern contemporary visual artist, was born in Navotas city, Metro Manila on July 10, 1981 a young starter, he was in grade 1 when he realize that he had talent and skills in art. He would draw image of “bahay kubo” and the surrounding sceneries using pencil crayons and whatever materials were on hand. His work of art had always been appreciated by his teachers and relatives and everybody surmised then that one day he would be an accomplish artist

        In 2005 he finish his college study at the Polytechnic College major in Business Administration and sometimes he work at the Philippine Deposit Insurance Corporation as an office staff, but he love for visual art was always with him he had join art group like the AAP and Tuesday Group headed by Anghel Cacnio. He also participate in latter`s sponsored Art Exhibit and/or competition e.g., at the GSIS and Intramuros, respectively. This year, he is a semi-finalist at Made Metrobank Art and Design Excellence, his work were also finally notice by the prestigious hallmark for L.I.F.E. Co,. such the two of this were chosen on adorn their Christmas and greeting cards in 2012 and 2013, together with well known artist like Hipolito and Anghel Cacnio.

Dennis J Francisco: Drawing the Line

Without a doubt, the recognize Master of the Line in History of Modern art is the swiss Artist paul Klee. He is Famous for his Definition of line: “a dot that went out for Walk.” And Judging from his staggering output of over 10,000 Drawings and others artworks, Klee took his line for a walk…and never return home.

        While Klee gave us the poetic definition, a more prosaic and pendantic definition of line reads that way: “Lines (and curves) are mark that span a distance between two points or the path of a moving points. As an art Element, line pertains to the use  various mark, outlines, and implied lines in art work and design. A line has s width, direction, and length. A lines width is sometimes called its ‘thickness.’ Lines are sometimes called stroke, especially when referring to line in digital artwork.”

          In Philippines Contemporary art, the recognize master of line — the Paul Klee of the Philippines, it you wish — is none other than National Artist Arturo  Luz. From his earlier works done way back in the fifties to his present-day work, the dominant element is line. With his genius for competition and design, Luz like Klee, also produce thousands of drawings and paintings, envisioned with a mere handful of classic themes: cyclist, musician jugglers, performers. The letter works of architectural edifices, temples, and places also come into existence with the sustained and consistent use of line, and in Luz’s individual Taste, with an extremely limited choice of colors

           Inspired by such master as Klee and Luz, a young artist named dennis Francisco celebrates his first solo composition with his passion for line. Indeed, the title of his show, now on view at the Galerie Astra, is “GuhitTanaw”. It is translated as “Draw Landcapes,” as they are the artist’s personal visions of manila’s cityscapes as well as pastoral provincial landscapes. Impressively, for an initial blow to the local art scene, Francisco has already arrived at an instantly recognizable style. More importantly, the artist has not fallen pray for the influence of Luz and his distinctive use of line. Francisco achieved this though the use of a zig-zag handling of line, crowding into a hectic crosshatching, all encased within a geometric shape. Outside this shape is the outline of the city rising with the its church steeples, electric posts, institutional buildings and edifices. Through the deft use of lines, Francisco investy his work with speed and animation, direction and vitality, and an expressive dynamic motion. The strategic placement of such structure as a panoramic bridge, pillars vertical iron grills, with their repeated verticals and horizontals Accentuates and frenetic energy of the city and landscape. And each time, the viewer’s eye travels along each line with dizzying speed.

           Interms chromatic, Francisco opts for the gentle and serene shapes of blue and earth colors, the better to tame the jangling activity of the pictorial space. Indeed, to have opted the hot, bristling shapes of reds, orange and yellow would have reduce his work to a feveral state, too uncomfortable for more more than a minute’s gaze

           Expectedly a favored subject of Filipino artists, the the city scape of vessel for each artist’s emotion, expression and visual performance. As many styles and treatment have already emerged with as many artists and designers. Aware of the challenge that confronts him, Francisco looked back to his childhood when he first discovered the delight, pleasure and adventure that a pencil, a colored crayons and a piece of blank release for him. Indeed, even a slight detour into the corporate world as an office worker never detracted from his conviction that he was meant to be an artist. As a longtime member of the Tuesday Group, dennis Francisco is even more convince that art is the only path of life for him.

        And to the destinction, dennis Francisco has always followed the straight line of his heart’s – and artist’s – content. Following paul klee’s definition, his first solo exhibit is exactly the line that dennis Francisco will take for a lifetime’s walk.

by CID REYES

Virgilio “Pandy” Aviado, born in 1944, stands as a distinguished luminary among the Philippines’ foremost visual artists, particularly celebrated for his mastery of fine printmaking. His illustrious career not only showcases his artistic prowess but also underscores his profound commitment to nurturing emerging talents and championing the advancement of fine print artistry within his homeland.

Aviado’s influence extended to the upper echelons of the Philippine art scene, as he assumed the mantle of leadership as President of the Art Association of the Philippines. Additionally, his directorship at the Cultural Center of the Philippines Visual Arts Coordinating Center broadened his reach, enabling him to advocate for the global recognition and propagation of contemporary Filipino art. As part of this mission, he facilitated the establishment of permanent workshops across the nation, ensuring the perpetuation of artistry at the grassroots level.

Aviado’s ascent to artistic prominence commenced with his debut solo exhibition at the revered Luz Gallery in 1967, an event that reverberated with critical acclaim and opened the doors to a transformative study grant bestowed upon him by the esteemed art patron, Fernando Zobel. This grant served as a passport to the hallowed ateliers of Madrid and Paris, where Aviado honed his craft under the tutelage of master printmakers and immersed himself in the rich tapestry of European artistry. During this period, he also contributed as a painter at the Taller DOJ and embarked on the endeavor of etching modern Spanish artists’ creations.

Subsequently, Aviado relocated to Paris, where he further enriched his artistic repertoire through immersive experiences at Le Plannage and the Edition Empreinte. The fruits of his labor were exhibited across Europe, the United States, and Asia, amassing accolades and admiration. Notably, two seminal exhibitions were dedicated to Aviado’s oeuvre—namely, “Autoretrato: Selected Graphic Works, 1950-1990,” held at the Ateneo Art Gallery in 2004, and “Graven Images: 1964-2014,” showcased at the Ayala Museum in 2014. These exhibitions served as tributes to his enduring artistic journey, encapsulating his profound impact on the global art sphere.

In essence, Virgilio “Pandy” Aviado’s legacy resides in his unwavering commitment to the fine art of printmaking, his mentorship of emerging talents, and his indomitable efforts to elevate the stature of contemporary Philippine artistry, a legacy that will continue to inspire generations to come.

Hailed as the Most Outstanding Fulbright Alumni in Arts and Humanities by Philippine Fulbright Scholar’s Association in 2008, a three-term Dean of the College of Fine Arts in the University of the Philippines and now Professor Emeritus of the institution, Nestor Vinluan is a celebrated abstractionist, a renowned educator and a stalwart in Philippine Art.

Nestor Vinluan, with a career that spans four decades are but a reminder of his expertise in the visual arts gained solely through his role in the gallery/museum setting and the academe.

Nestor Vinluan’s artworks can be identified through the use of highly-refined and subjective imageries of nature that result in “strangely mesmerizing” manifestations as described by art historian Rodolfo Paras-Perez.

Often referred to as “the Father of Installation Art in the Philippines,” Luis Yee, Jr. or Junyee (b.1942) has always focused on two things in his artistic career: to document and explore life as a Filipino; and to creatively use indigenous materials as a means of sculptural expression.

An Agusan del Norte native who studied fine arts at the University of the Philippines under National Artist Napoleon Abueva during the mid-60s, Junyee has made a lifetime commitment to be an environment friendly artist. He makes art through the ethical use of organic materials like naturally-felled woods, bamboo, leaves and branches, and even seed pods. Living in Los Baños since 1975, the arboreal surroundings of nearby Mount Makiling has been the main resource for Junyee’s unique assemblages, like his celebrated Wood Things series (1981) that look like large hairy caterpillars made out of dried kapok pods and banana stalks

Honed as a neo-vaudeville performer as a teenager, Joemarie SANCLARIA Chua, has transformed himself into a full-fledged visual artist due to many factors; the urgency of a scene to be unfolded before his eyes, the passion to put the right emotions to the scene, and finally to present the scene in fabulous colors. He chose his mother’s maiden name Sanclaria as a tribute to her endless support for his artistry, and also because it gives him a sense of mystery; his fascination for the concealed stories of his lineage that descended from the Sanclaria clan of San Joaquin , Iloilo. 

He expresses his gratitude to his mentors for encouraging him to establish his signature name. He underwent mentorship under the tutelage of renowned international artists Spansih Master artist Vincente Romero Redondo,  American Master Artist Romel dela Torre, Philippine’s Master Artists Maestro Romulo Galicano and Maestro Fernando Sena.

Joemarie Sanclaria’s works have been displayed in more than 100 major art exhibits all over the Philippines and several international exhibits in Germany, Switzerland, Italy, Hongkong, and Singapore. He won several championship awards in theater and choreographic competitions. He has facilitated and instructed in countless art workshops in schools and institutions such as UP Diliman Integrated School, Ateneo de Manila High School, and Saint Pedro Poveda College. He has been involved in more than a dozen outreach programs, feeding programs and art workshops for impoverished children all over the country. His works have been published in 2008 in the books “Future Legends” and “Philippines’ Best Book” by the Sorrell Publishing Company, New York. He was also featured in “Long Live Art Book 2” published by Ronnie Rayner Latner, Australia, and Filipino Artists Magazine. Joemarie Sanclaria is a favorite envoy and goodwill ambassador between art groups. He is a member of Portrait Artists Society of the Phils. Inc.,  Walls Artists Community,  Let’s Paint Art Group, International Watercolor Society – Philippines and  Philippine Pastel Artists. Inc.

All in the mind” is the essence of Robert Deniega’s art. Beginning with a concept borne by a creative intellect. A Deniega canvas is rich with symbolism. A star is his signature element, a metaphor to emphasize his recurrent theme that aspirations no matter how immense can be achieved with determined effort. Other imaginative artistic representations he employs may come to the viewer as surreal, it is however the artist’s idea to underline his message that faith can turn even what appears to be impossible into reality.A University of the East alumnus who majored in painting, Robert initially honed his art- ability in the publishing field as a book illustrator and later in animation. Robert is an active member of the Art Association of the Philippines (AAP) and the Saturday Group, Philippine Pastel Artist Inc. (PPA) IWS Philippines

Jerico De Leon started exhibiting his paintings in 1997, participating in group shows in Pinto Museum, Boston Gallery, Kaida Contemporary, Secret Fresh, Imprimatura, Aspace, Erehwon Center for the Arts, Ricco Renzo Gallery, the PNP Academy in Silang, Cavite, and Seattle Center Festal organized by the Filipino Cultural Heritage Society of Washington. After graduating with a Fine Arts Major in Painting degree from Philippine Women’s University, he has worked in film, television, furniture design, art auctions and historical restorations, and is currently a full time artist. paintings have dried leaves as a recurring subject, His work was awarded an Honorable Mention in the Creative Minds During Quarantine international online contest organized by All Visual Arts in London.

Pandemic, in 2020, Jayson Pettz Muring presented a solo exhibition, in the thick of the quarantine lockdown, Muring launched, “Beyond Norm,” adverting this time beyond the earth’s physical condition into the mental and spiritual stresses that reached intolerable levels of psychic crisis. In mid-year 2021, undeviating from his tectonic themes, Jayson Pettz Muring presents: “Whiskey Blues,” at The Artologist Gallery, Ayala Malls, Manila Bay. In delving into his latest explorations, Muring, by his own admission, reinforced the flagging human spirit with a round of whiskey and the blues music lyrically moaning in his ears. Of necessity, Muring has shifted into an alternative reality, one purged with materiality and commercialism, now aspiring towards a symbolic incandescent Light. Whence the origin of Muring’s imagery? In many an artist’s history – think Van Gogh’s sunflowers, Cezanne’s apples, BenCab’s Sabel, Luz’s cyclists and musicians – the source of the primordial image is vital, deepening the art and expanding the viewer’s understanding and appreciation of the work. In the case of Muring, he follows in the admirable tradition of artists exalting their birthplace, evoking memories of a hometown, or even engaging with their physical space, either through the use of place-names or references. Integral to Muring’s identity as an artist are the indelible impressions of Boac, Marinduque, whose terrain, without being directly depicted or reconfigured, is saturated with the light-permeation of earthen colors of faded sepias, siennas, russets, taupes, and tans, with vivid inflections of sunflower gold. On the other hand, the surfaces of Muring’s paintings convey the violence of nature, rending the earth into a volcanic quaking, leaving in its wake the clefts and crevices, the cracks and apertures, the fissures and orifices of a violated land. This physical devastation, as it were, transcends its material character, and in the hands of Muring, emerges as metaphors for disturbed spiritual states, working their way slowly, insidiously, into the viewer’s own psychic space. See what a shot of Scotch and some keening blues can do for Jayson Pettz Muring.

JÜRG CASSERINI was born in 1950 in Thun, Switzerland, where his father, a well-known lithograph, was heading the “Stein- und Offsetdruckerei Casserini & Sohn” (Printing and Lithography Company). After his education, he joined the Swiss Department of Foreign Affairs. In over 42 years, Casserini has been working in 16 countries at the Swiss Embassies, Foreign Interest Sections, and Consulate Generals. During his professional life, he also acts as a Cultural Attaché and organized a number of Art Exhibition and numerous cultural events. Manila was his last posting with the Swiss DFA. After his retirement in the Philippines in December 2013, his passion for art led him to a new adventurous path. Casserini asked himself “why shouldn’t I work on something different?”. As an autodidact influenced by some of the best-known Swiss and foreign artists at a very young age, Casserini developed his sense for forms and colors. The ability and willingness to endeavor new options beyond traditional boundaries guided him to create works of art using different materials. This was the hour of birth of a unique composition of slag–a product of copper smelting; broken “bangka” pieces assemblage; driftwood arts; and soon—abstract arts on canvas using acrylic paints.