In the Metropolitan Museum of Manila’s newest exhibit, Postura, prominent portrait artist Romulo “Mulong” Galicano and renowned designer Patis Tesoro bring new life to the traditional Filipiniana and usher the traditional Filipina into the modern world.
The collaboration began in 2003, when Mulong visited Patis, who made one of his barongs. In Patis’ house, he saw her famed collection of Ninay dolls, dressed in the Filipiniana-inspired gowns that Patis is known for.
“Nagkatugma kami ni Patis,” says the artist on the Filipino style inherent in both their works.
“We are able to continue the spirit of Filipino-ness in our work,” Patis adds. Five years later, they completed Postura, the two artist’s very first collaboration. “It’s an honor to work with him,” says Patis.
Postura is a refreshing mix of traditional subject matter – young Filipinas selling fruits or posing daintily with waterfalls and bamboo in the background, matriarchs seated gracefully, decked in their elegant ternos – with a hint of contemporary style. Bold vertical stripes in bright colors line the otherwise traditional-looking canvas. Some lines are even beveled, making the surprising addition of the contemporary all the more eye-catching.
“These subjects have all been done before by the likes of Fernando Amorsolo and Fabian de la Rosa,” says Mulong. “It is a challenge for me to use old subject matter but be able to bring it to the contemporary world.”
Patis adds in jest, “And he’s tired of being compared to Amorsolo!”
Mulong’s bold vertical lines were inspired by Ameri-can expressionist artists. Looking back on his work, though, he realizes that he has always had an eye for vertical lines. Many of his earlier works had bamboo shoots or other such elements in the composition. His new style, he says, has just become more daring.
One of the most prominent portrait artists in the country today, Mulong says that a portrait must show “not only the outlines, but a depiction of the mind and heart.” He adds, “It should not be a mirror reflection nor reproduction. A portrait must be a lyric poem.” In each portrait he paints, he believes that it is the soul of the subject that must be captured, not merely a photographic likeness.
“The artist does not try to copy the vitality of the light falling upon the subject. Instead, he tries to fathom the inner soul of the sitter.”
In his new work, Mulong says that sometimes the lines draw attention away from the face or the subject. This, he says, was a deliberate decision. “Here, I am more concerned with the concept than the subject,” he explains. “My responsibility as an artist is to bring the old school realism to the contemporary world.”
“I have been using these vertical lines to add a new dimension to figurative art and portraiture,” Mulong says of his work. “It’s very controversial,” says Patis, to which the painter readily agrees, remembering how he almost lost one of his clients who wanted a more traditional portrait. But Mulong, who would not give up his artistic integrity for the commission, refused to change his style. Eventually, he was allowed by his patron to do the portrait applying his contemporary style and was ultimately able to convince everyone of the uniqueness and beauty of the work of art. For Mulong, the brave and daring new style would separate him from other portrait artists and bring him to the forefront of Philippine contemporary art. “There is no art without life; there is no life without growth; there is no growth without change; there is no change without controversy,” Mulong shares about what he believes illustrates the contemporary artist.
From making rag-dolls and other crafts in Maryknoll when she was in high school, Patis’ style and skill evolved into crafting intricately embroidered designs on the native piña. Her elegant designs, transforming traditional styles into glamorous contemporary gowns, have made her one of the most recognized designers in the country today.
Pioneers in bringing traditional Filipino elements to the contemporary age, both artists have become accustomed to the initial resistance of their audience. “It’s not easy,” Patis says of the problems they both encountered as Filipino contemporary artists. Both artists, however, are aware of their important roles. “You just feel it and try to bring it out,” says Mulong on how their work is able to resonate a distinctly Filipino essence.
“Everything we do in life is art,” Patis adds, on being a Filipino artist.
So far, Postura has been well received by its audience. In fact, the opening night of the exhibit accommodated some 800 guests, the most in the history of the Metropolitan Museum of Manila. Guests packed the museum from end to end, showing clear support for the artists.
On the exhibit, Mulong says, “I want to show that realism is not confined to old school but can be brought to the contemporary age. The use of old subject matter is a perpetual challenge to the contemporary world of painting.” Through Postura, Patis Tesoro and Romulo Galicano hope to bring about a new-found interest in Filipino art. “It is our cultural responsibility as artists,” they believe. “It is a reminder to the new generation of Filipinos. We show the culture that we should not forget.”
Postura runs until August 30 at the Metropolitan Museum of Manila. Patis Tesoro and Romulo Galicano will also hold a seminar on the exhibit on Aug. 9 at 2 p.m. at the museum. For details, call 523-7855.