From garden to canvas

His approach to pointilism gives him a distinct quality, infusing his paintings with a transcendent realism that appears to glow. The artist in question, Felipe Mayoya, grins in response to praise about his paintings, and adjusts the strap of his baseball cap, which he uses to rein in his long hair.

Mayoya’s colorful creation of strawberries in full bloom looks scrumptious enough to eat, but his inclusion of a pink embroidered shawl in the painting takes away some of the attention. That piece of cloth, a seemingly trivial detail, is actually the signature of celebrated artist Araceli "Cheloy" Dans–Mayoya’s mentor and full-time employer–whose penchant for delicately detailed fabric in her paintings has become a popular trademark.

Mayoya is quick to admit this impelling (if not forced) tribute to the woman to whom he owes so much. "Si ma’am (Dans) ang nag-suggest na maglagay din ako ng mga tela sa mga ibang paintings ko. Kaya ang tawag tuloy ng iba sa akin ‘Cheloy Junior’," he says with amusement. "Pero ayos lang. Malaki naman ang utang na loob ko sa kanya, eh. Wala siguro akong narating sa larangan ng art kung wala siya."

And how.

Born in 1950 to a life of poverty in San Nicolas, Pangasinan, Mayoya’s chances of making it as an artist were slim. Since his father’s earnings as an ice cream vendor weren’t enough to support the family of eight, the young Mayoya sold pandesal every morning before going to school, where he first started drawing.

"Nagsimula ako mag-drawing when I was about six," Mayoya says. "Ang madalas na gamit ko pa noon uling lang kasi wala ako pambili ng lapis."

He became immersed in his doodles, and a hobby quickly turned into a passion, an escape from the perils of reality, and a near obsession–had it not been for his lack of time and money.

"Talagang nahiligan ko kaagad ang art. Elementary pa nga lang daw kasi ako, magaling na raw ako magdrawing," he shares. "Gumagawa na rin ako ng mga greeting cards noon, pero for fun lang. Hindi ko pa naiisip magbenta, kaya binibigay ko lang yun sa mga kaibigan ko. At tuwang-tuwa naman sila."

But while Mayoya found the first admirers of his art in school, the hardships of poverty continued at home. It took its toll on his youth and before he knew it, he was just another jobless wanderer in a sea of underachievers.

In 1972, Mayoya–by now married to his childhood sweetheart Emily–decided to move up to Baguio City. The couple immediately fell in love with the peaceful serenity of the province and decided to settle there.

Although money was still tight, Mayoya found out that he was blessed with a green thumb and was a gifted gardener. Pretty soon, he was working as an all-around housekeeper and gardener in the Baguio resthouses of prominent families such as the Cojuangcos and the Marcoses. It was also during this period that Mayoya discovered his niche in art.

"Hindi ko pa rin binitiwan yun, syempre," he says. "Sa Baguio ko unang nakita at nagustuhan ang mga watercolor paintings kaya naghanap ako saan makakabili nun. Pero dahil wala akong kilala na ibang artist, wala rin nangyari."

That is, until he met a Chinese artist at one of the houses he was tending at the time. Mayoya couldn’t muster the courage to ask questions, so he quietly studied the artist at work, monitoring the different colors he used for each stroke. The artist soon noticed Mayoya’s keen interest.

"Binigyan naman niya ako ng advice, at nilista pa niya yung mga art supplies na dapat kong bilhin," Mayoya recalls. "Kaso sa Sta. Cruz, Manila lang daw yun mabibili kaya medyo nadismaya ako."

Determination won out, however, and for the next few months, Mayoya set aside what he could from his salary. "Nagtabi ako ng pera for my trip to Manila because I really wanted those art supplies. Tinago ko pa nga ito sa misis ko kasi baka mabulilyaso pa," he laughs.

When he felt that he had the cash he needed for the watercolors, he asked one of his brothers to accompany him to Manila. "Pero hindi kami sanay doon, kaya nahilo kaming dalawa. Lalo na nung makita ko yung mga presyo ng mga art supplies. Napakamahal pala! So wala rin akong nabili. Sa pamasahe lang napunta lahat ng pera ko!"

Eventually, Mayoya saved enough money for a return trip to Manila; and this time, he made sure he had enough money for his paints.

After that, he was practically "gone". He would practice for hours everyday, painting with delight all the plants and flowers he saw in the gardens he tended. Since there was nobody around to guide him, the initial results weren’t exactly masterpieces.

"It took a lot of patience... a lot of effort before I finally learned how to use watercolor correctly," he says. "Wala naman kasi nagturo sa akin, eh. Wala naman akong formal education sa art. Sariling sikap lang. Sariling tiyaga..." Through sheer determination and a natural talent, Mayoya soon developed his own style.

Mayoya’s works are not mere groupings of flowers and objects. He deftly arranges his subjects and renders them with the utmost attention. It wasn’t until the early 1980s, however, when Mayoya finally sold a painting.

"Someone bought it for 75 pesos at tuwang-tuwa talaga ako," he says. "Biro mo, nagka extra income ako! Kaya mula noon, lalo kong pinag-igihan ang pagpinta."

He had found his medium, and later got a few small commissions, but the dream of becoming a successful artist remained just that: a dream.

The turning point in his life came when he was employed as gardener by Cheloy Dans in the late 80s. After viewing his watercolors one day, she decided that Mayoya did have some real talent. At the same time, Cheloy also sensed his frustration and burning desire to become better at his craft, so she gave him pointers on the principles of design, composition and provided him with art materials. She showed him art books and guided him to use critical judgment when viewing art works by other artists. Cheloy, in short, became Mayoya’s mentor.

"I improved immensely under her," Mayoya says. "At hindi nagtagal, sabi niya sa akin pwede na raw ako mag solo exhibit. May duda pa ako noong una, syempre, at grabe yung kaba ko. Pero nang pumatok yung show, my confidence boomed and my spirits were lifted. Para akong nasa Cloud Nine."

His first solo exhibit, held at Galleria Y at SM Megamall in 1996, was called "Unang Punla". He produced 18 paintings for the show, and the exhibit sold out.

Things only got better for him after that.

His second one-man show in 2000 at the Metropolitan Art Gallery at the Shangri-La Mall entitled "Sagip Punla" dazzled serious art collectors and solidified his place as a true visual artist. A third exhibit, "Panagbenga", was held the following year at the same venue.

In 2002, Mayoya showcased six of his works along with those of fellow artists Cheloy Dans, Joven Ignacio, Alan Antiqueño, Azor Pazcoguin, Angelito Baldemor, Lucy Fernando and Tito Sanchez at the "Guhit" exhibit.

"My wife didn‘t really encourage my paintings at first, but when they started making money, she instantly became my biggest supporter," Mayoya smiles.

His fourth solo exhibit entitled "February Blooms" is ongoing (until March 1) at Camp John Hay in Baguio City, the place which he now calls home.

Felipe Mayoya’s love for nature is evident in his watercolors, particularly in the drama of light and shadow. His works often contain elements from the gardens he cares for, and his obvious patience and delicate attention to details in each painting is nothing short of brilliant. But the most important aspect of his work is still the connection one feels with his subjects and the excitement Mayoya experienced while painting them.

Being gardener and painter are professions that feed on each other. From one he draws inspiration and subject for the other, and from the other the passion and dedication for the former.

"I’ve been a gardener for 35 years," Mayoya says. "So there’s no reason why I should stop now–as long I get to paint."