These are some of the countless definitions proposed on the philosophy of art. Many scholars and theorists have attempted to answer what art is and their answers differ greatly. Even psychologist Sigmund Freud gave his own interpretation of art – the creation of a person’s unconscious "wish fulfillments." However, for multi-awarded sculptor Impy Pilapil, National Artist Arturo Luz and top Swiss jeweler-designer Hans Brumann, art is a gift that is unique to each true artist. A true source of great enjoyment, as well as fulfillment, the process of creative expression is as natural as breathing.
For the first time, Pilapil, Luz and Brumann will share the spotlight to heighten the public’s understanding and appreciation of works of art through an exhibit organized by the Embassy of Switzerland, under the auspices of Swiss Ambassador Lise Fabre. The three-man show, to be held at The Podium from May 21 to June 1, will be a rare occasion and is definitely a must-see for art lovers.
Critics would perhaps dub the exhibit as the year’s most interesting show, as it features the works of the three personalities – Pilapil’s stone and steel sculptures, Luz’s masterpieces on canvas, and sculptures in mother-of-pearl, kamagong and narra designed by Brumannn and handcrafted by his long-time Filipino aide Antonio Gabon. The exhibit will also display more than 30 jewelry pieces by the three artists, crafted by Brumann atelier.
Brumann’s collaborative efforts with the two celebrated Filipino artists started almost a decade ago. It was in 1995 when he first mounted a jewelry exhibit with Pilapil at his shop in Legaspi Village and at the Makati Shangri-La Hotel. Most of Pilapil’s designs were executed in Lucite, then a first in the country, with pure yellow and white gold and diamonds, consisting of earrings, rings and brooches. A year later, Brumann joined forces with Luz, who is famous for his intricate and elegant designs that were subtle but arresting in quality.
"In a way, these collaboration keep alive what I think is the most important in jewelry-making: The quest for new ideas. I believe that creating jewelry itself is an art form. They are in essence miniature sculptures," shares Brumann, who has been working as a jeweler-designer in the Philippines for more than three decades. He is happy and proud to be working again with two of the art industry’s prime movers.
The works that will be displayed at the exhibit are of an astonishing variety, reflecting the three artists’ approach to art.
"The subjects of my artworks vary, and the images are mostly of the ocean and nature, symbolizing the essence of life, and how one should not forget values," says Pilapil, whose large-scale sculptures were recently exhibited at the Ayala Park.
Pilapil works have been described as clean, refined, silent, soothing and spiritual, with marked continuity in themes and images, "Just about all the qualities I want out of my creations," she quips. Apart from creating art that has embraced printmaking, murals, furniture, accessories and sculpture, the artist is in the process of creating a private sculpture garden and studio outside of Manila, where she intends to hold workshops for underprivileged children, including the handicapped.
Brumann’s impeccable taste and attention to detail go beyond his showroom. With the help of his Visayan helper, whom he considers more as a friend and a partner, Brumann’s sculptures, on the other hand, celebrate the bounty of nature. They are meticulously executed in rich combinations of mother-of-pearl, kamagong and sturdy narra wood.
Most notable in Brumann’s 12-piece collection is the piece called "Metropolis" in mother-of-pearl with natural blister pearls and kamagong wood. His other creation, "Willow," was inspired by a picture of a Japanese tree he once saw in a newspaper.
"My illustrations of these sculptures are interpretations of how I see things around me," says Brumann. "With the help of Antonio, who is a very skilled worker, I am able to create my own expression of art."
As National Artist, Luz has helped further the growth of Philippine art. He has 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 raised Filipino aesthetic vision to new heights of sophisticated simplicity.
He explains: "My creations are extremely simple and, at times, stark, using either geometric or linear images. They represent the nature, the essence, the very core of things around us."
Luz’s display for the exhibit is a slim collection, but its richness is brimming, consisting of 10 pieces in acrylic that will enlighten guests of his recollection of things he has seen and places he has been to in the more than 40 years he had worked as an artist. Among his works is the "Cities of the Past" series, done in simple beautiful lines, representing castles, forts, desserts and temples, places he has laid eyes on during his journey throughout Asia, all the way to the Indian subcontinent.
"I love working on a series to present the continuity and variation of the same idea," he shares.
For the upcoming exhibition, Luz did a new series called "White Temple," consisting of four brand new paintings, which he did on Brumann’s request. The series is inspired by Palitana, a place in the western Indian state of Gujarat, famous for its spectacular temples. The base and peak of the Palitana Mountains amazingly reveal 863 holy temples built during the 11th and 12th centuries.
And how exactly can one appreciate art in its entirety?
"When you look at art, it should make you feel something. When an artwork makes you feel a little different, don’t walk away just yet. Stand in front of it a while longer and notice how the feeling changes or develops," says Brumann.
Luz succinctly adds, "Keep looking."
"I have been asked endlessly to describe my work, and I think it is really up to the viewers to describe them. All these description and intellectualization are not really that important. What matters is that our creations will touch the inner selves of viewers," Pilapil concludes.