Iba’t ibang ‘papel’

Artists are indeed a wonderful lot. They never run out of ideas. When we received an invite for an exhibit on paper as medium, my wife Mary Ann was very hesitant to go.

"How much can one do with paper?" my non-artistic Darleng asked.

"Lots," I said with some annoyance.

But she did not seem convinced. I had to bribe her with a good Indian dinner before she agreed to travel 90 kilometers with me to Manila. You must excuse her; imagination is not one of her strengths.

As we stepped into the Metropolitan Museum along Roxas Boulevard, we were greeted by our friends architect/product designer Reimon Gutierrez, Peachy Prieto, and Impy Pilapil in their cleverly designed jackets made of – what else? – but paper.

"Pwede pala ang papel na jacket," Mary Ann whispered. "I want one of those," she declared.

Even the guest book was kinda unique: a 4-inch x 6-foot long (at least) book, spread on top an equally long narrow table that each guest could sign or freely doodle on.

Opened last Oct. 13, 2005 is "Papel ng Papel" at the Met Museum by three artists, Impy Pilapil, Tes Pasola, and Tony Gonzales. According to the introduction written on a panel by Reimon, the show attempts to free a medium long denigrated to a secondary role of being the bearer of ideas (and not the idea itself), the symbol of value (but is never valued for itself), and the bearer of communication (but is never the message.)

During the opening remarks by National Museum director Corazon Alvina, she wittingly described the role of paper in our lives today: "Ano nga ba ang papel ng papel? First, let us look at the word itself. The word ‘papel’ in Pilipino is borrowed from the Spanish. Paper, both word and material, is from one of the resources from which it was initially made, papyrus.

"Papel the word has worked itself into our language: to reiterate, ano ang papel ng papel – what is the function of, what is the role of; nasira ang papel is for one’s dubious intentions to be found out; mabasá ang papel is to be so thoroughly discredited; magpalapad ng papel is to assume importance; pumapel is to insinuate one’s self in certain situations that are mostly of import, most especially if the one insinuating himself is not. Papeles refers to important documents. Papel de bangko was how paper money was described by our grandparents; papel de liha is an indispensable tool in smoothing out wooden objects of crafts. In this exhibition, however, the medium itself has been wielded not as a surface upon which some thing must be applied, but as the thing itself. Molded, folded, shaped, formed, crumpled, crunched, etc."

The different works by the three artists represent the limitless possibilities of what a simple material as paper could be transformed into when left in the deft hands of talented artists. Catch this milestone of a show until January 2006.

Another ‘Papel’

Meanwhile, at the Pinto Art Gallery located in a sprawling estate in uphill Antipolo City was the opening last Nov. 20 of another three-man show, or rather three solo exhibitions held in different galleries within the estate. Three established artists showcased their latest respective works, namely visual artist Ofelia Gelvezon Tequi, ace photographer Wig Tysmans, and abstractionist painter/sculptor Gus Albor, each featuring his forte.

The House gallery presents "Mantra," Albor’s recent paintings, sculptures and installation works.

At the Gallery Shop and Gallery 2 are the acrylic paintings of Gelvezon-Tequi in a show titled "Country Still Lifes." The France-based artist features 16 still lifes done in Europe in the past two years. This is a homecoming exhibit of sorts for Gelvezon-Tequi, who has for many years made her home in Paris. Known for her initial series of viscosity prints in the late ’60s to the early ’70s, the artist has been painting still lifes for over 10 years now.

In "Country Still Lifes," Gelvezon-Tequi paints compositions of fruits, vegetables, and antique stoneware or porcelain over a wooden tabletop. Her paintings are remarkable for their straightforwardness and crisp color, highlighted by a terse but elegant arrangement of subjects in an equally sparse teal blue background. Her larger pieces tend to emphasize color harmonies more than straightforward representation of objects. In "Three Yellows," Gelvezon-Tequi plays with the color harmonies of different tints of yellow of three different objects, a mature gourd and two stoneware jars, against a rich blue-green wall.

At Gallery 1 is the recent exhibit of prints by one of the country’s top photographers, Wig Tysmans. The show brings together several new and recent pieces by Tysmans, who shot his subjects through a film camera and printed digitally using archival paper and inks. The dominant theme of the exhibit is the nude, which the artist considers a longtime passion. Tysmans’ photographs evoke the power and presence of the human body. The exhibit features a few prints in color and is mostly made up of works shot and printed in black and white.

All exhibitions run until Jan. 20, 2006.

Pinto Art Gallery is located at 1 Sierra Madre St., Grand Heights, Brgy. San Roque, Antipolo City. Gallery hours are from 9 a.m. to 6 p.m. from Tuesday to Sunday. For inquiries, call telefax 697-1015.

More ‘Papel’

The following day, another milestone in the Philippine art scene happened at the Locsin-designed Ayala Museum in Makati City.

The Philippines hosts this year’s 20th Asian International Art Exhibition with works by 46 Philippine artists – including myself, for which I felt very honored – alongside some 120 painters and sculptors from nine Asian countries, on the theme "Being Asian, Being Asia."

Member countries coordinate this annual exhibit with the goal of promoting and developing Asian art. The country’s participation through the years has been coordinated by the Philippine Committee, which is currently chaired by glass sculptor Ramon Orlina, together with Virgilio Aviado, Ben Cabrera, Sid Gomez Hildawa, and Susan Fetalvero-Roces.

The successful prestigious three-day event was co-sponsored by the National Commission for Culture and the Arts, Directories Philippines Corporation, Ayala Land Inc., Bank of the Philippine Islands, Metrobank Foundation, Hong Kong and Shanghai Bank Corporation, Asia Society, Pioneer Insurance, Philip Morris and Taal Vista Lodge.

The 20th AIAE runs until March 26, 2006. The exhibition is open to the public for a modest admission fee. Gallery hours are from 9 a.m. to 6 p.m. from Tuesday to Friday, and from 10 a.m. to 7 p.m. on Saturday and Sunday. The museum is closed on Monday.

Oyana Ing Papel! (Here Comes The Paper!)

On Dec. 3, the much-anticipated duman festival will be held at the Sta. Rita de Casia Parish Plaza in Sta. Rita, Pampanga. The Artista.Rita choir will perform a musical, amid a treat of traditional Kapampangan Christmas fare of bringhi, asadong matua, and nilagang pasku, not to mention steaming hot binatirol native chocolate and bibingka.

To reach Sta. Rita, Pampanga (not to be confused with Sta. Rita, Bulacan), take the Olongapo-Gapan Highway, turn right once you see the giant Jollibee billboard after the Total gas station past Max’s Fried Chicken in San Fernando City.