When one works on something about art, one would expect to be talking to individuals who have graduated with some related degree or who have devoted their entire lives to the arts. It was thus by strange accident that talking to a number of the artists who would take part in Gallery Nine’s current anniversary show, I find out that none of them even had a fine arts degree.
The show is headlined by Ramon Orlina who is an architect by training, with Carlito Ortega who was an electrical engineer turned businessman, Ral Arrogante who graduated with a degree in commerce, and Ruby Katigbak who finished biology.
Gallery Nine owner Amy Loste, who incidentally is a lawyer, points out that this third annual show has become a tradition for the gallery and their artist friends as it serves as a reunion of sorts for sculptors and an opportunity for the younger artists to exhibit their works. The show has also become a forum for discussion and an opportunity for artists to exchange ideas.
On the hesitancy for some artists to sell their pieces that they have become emotionally attached to, Ral says “An artist cannot feel bad when he sells his pieces. You must let go. You must move on. Otherwise your energy will get stuck and you will always be stuck with those pieces and never be able to grow. Do not look back.”
And as Carlito offers a tour of his atelier and a demonstration of some of his techniques to young artists, he points out that “You have to keep learning. And you have to share your knowledge. That’s the only way that it will come back to you a hundredfold.”
A New Facet For Ramon Orlina
Primarily known for his works on glass, Ramon has taken the opportunity of this show to put on display his venture into a new medium — hot-cast bronze. On display will be his first work in bronze, “Homage to Picasso II,” one of seven in the series.
Ramon mentions that his venture into casting bronze sculptures was brought about because of the large-scale project he is undertaking for UST. “The problem with glass is it has limitations. It cannot be too big. With bronze, I can make the piece as big as I want. It gives me more opportunities to do public sculpture and large scale pieces.”
For Ramon, this departure is more radical than initially apparent. Bronze is a very different medium from glass. It is opaque and therefore works become more about the shape and form as opposed to the ethereal translucency of glass.
The show will also mark the first time that Ramon will put on display his more traditional glass sculpture using Chinese amber crystal which lends a new hue to the works for which he is more famously known.
Carlito Ortega PAYS Tribute to the Pioneers of Mindanao
Originally from Bukidnon, Carlito gets much of his influences from his childhood memories growing up in the province. In this series of works, he wanted to capture the spirit of the farmers who first populated Mindanao. Three individual pieces demonstrate their mastery of the bolo, the axe and the carabao.
Most significant of the works might be “Taming Bukidnon.” “Carabaos need to be disciplined so that they will do what the farmer wants. In the province, their nose rings are normally tied to a tree with their noses pointed upwards to discipline them. Otherwise they will gore you with their horns.”
In the present piece, Carlito shows the carabao being disciplined by its human master who is pulling his nose up in the air instead of a tree. He recalls that he had much difficulty with this particular piece, as he could not find the appropriate position to properly depict the man.
“I finally found the inspiration in the matador of Ernest Hemingway. The matador and the farmer are very similar. They need grace and arrogance to tame the power and strength of the bull or the carabao.”
Ral Arrogante creates Art from Waste
Ral is another artist who found his style and medium through experimentation. He uses discarded brass and copper to form various sculptural figures. In the present show his contribution includes two clocks — both of which are actually working sculptures.
Ral discusses that during his first five years as an artist, all his clients were foreigners and it took another 10 to 15 years before the local Filipino market began to embrace his works. “You have to educate the public first. Here in the Philippines, there is a tendency to go traditional. So the themes are usually a santo or a princess. Unlike in more advanced countries, there is a hesitancy to go with a modern treatment for sculpture. People want to play safe maybe because they are afraid of criticism or the unknown outcome.”
He points out the other common problems encountered by local sculptors especially in the area of public sculpture is the lack of venues and vandalism. “Vandals will just saw off part of the sculpture and then sell it as scrap metal. To them it is just a piece of scrap that can be sold by weight with no intrinsic cultural or artistic value.”
Ruby Katigbak looks at The Future of Sculpture
Ruby Katigbak has art in her blood. As the 25-year-old daughter of renowned artist Grace Katigbak, who is also participating in the present show, Ruby demonstrates unusual talent for someone so young and for all intents and purposes untrained in sculpture. Perhaps it is a by-product of having grown up surrounded by art combined with a raw unfenced talent that is influenced neither by structure nor standards that produces such promising results.
Her two large pieces consist of dragons cut out of sheet metal. In her piece “Dragon Wings,” she used tattoo art as her inspiration for how the lines of the dragon’s wings would flow.
Fortunately for us, Ruby decided to pursue a fulltime career in art and decided that her passion and as she says, her sleep, were more valuable to her than finishing a medical degree which would require another seven years of sleepless nights.
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“Forces of Form” is on view until Oct. 7 at the Art Center, SM Megamall A, fourth floor, Mandaluyong City. For information, call Gallery Nine at 910-8016. For comments, e-mail me at omniumg@yahoo.com.