Museo Orlina: Glass, light, magic

MANILA, Philippines - “Glass is magical… It is a very strong material, at the same time it is fragile,” imminent glass sculptor Ramon Orlina muses. Even early on in his career, he had had a fascination for glass, starting with his work with glass and steel as an architect.

In the 70s, when he first ventured into art – he started with painting – Orlina used glass as his canvas. Finally, his style and technique developed into the bold, exquisite glass sculptures that he has become synonymous with.

“The material has its own identity, it has its own soul and imperfections… Lalabanan ka niya (It will fight you),” says Orlina on the struggles of being a sculptor.

A good sculptor, he says, must be able to work with the imperfections without destroying the design he has conceptualized. “There’s another entity, another soul.”

Though he did not study art in school – Orlina has a degree in architecture – he says he learned everything by experience, through trial and error, gaining an understanding of glass in different capacities – both as a functional material which he worked with as an architect and as a material with its own soul, resisting and yielding to Orlina, the artist.

“You must know how to handle the material,” Orlina says, and points out that, when handled properly, glass has made great contributions to civilization, from the telescope to microscopes to camera lenses.

I’ve been thinking about a museum a long time ago, but I was planning to put it in Taal, Batangas, my home town,” he shares. But the houses owned by his family in Taal are old, historical houses; heritage houses that are more than a century old that are significant tourist attractions in themselves.

“I don’t think my works would fit into that,” he says. A proud resident of Taal, Orlina has made it his advocacy to promote and preserve the town’s history and architecture, hoping to eventually have it recognized as a World Heritage Site. “How will it become a World Heritage Site if there is no more heritage?” he asks, lamenting the destruction of the original architecture of old buildings in the area.

Serious about his advocacy, he has gone so far as suing the parish priest of the Taal Basilica and was successful in stopping the construction of a chapel that would destroy the façade of the church.

When his friend offered him a property in Tagaytay – a pair of townhouses – Orlina jumped at the offer (even partially paying for it with a sculpture) and decided to build his museum there. “It’s been a dream,” he says, and acquiring the property was a sign that it is meant to be.

Now the Museo Orlina overlooks the artist’s beloved Taal. The ground floor and basement are dubbed the Reflections Gallery, a venue for different artists to be featured in monthly changing exhibits so visitors can keep on coming back and see something new every time.

The second and third floors house Orlina’s works – some pieces from each of his series and some works that have never before been displayed in public. They give an overview of the different stages in Orlina’s career and showcase the various techniques that he has mastered through the years.

“I have paintings on glass, I have sand-blasted sculptures, I have jewelry, stained glass, chairs…” Orlina says. The museum is a testament to his work throughout the years and shows his evolution as an artist. It will be the sculptor’s lasting legacy to his viewers.

The museum had its soft opening last Nov. 30. The grand opening will be in January, a bright way to start the new year, and in time for Orlina’s birthday. The inaugural exhibit in the Reflections Gallery will feature works by National Artist for Visual Art Arturo Luz and painter Onib Olmedo.

Eventually, Orlina plans to build a sculpture garden outside and will soon open a coffee shop on the roof deck.

“I’m inspired by so many things,” he says, confirming that he is constantly working on new projects. “This inspires me,” he says, indicating the sweeping, unobstructed view of the Taal Volcano and Taal Lake from the rooftop. 

He hopes that Museo Orlina will likewise inspire many more people as well. “People have to be exposed to art,” he says, noting that while Tagaytay is a popular place to visit because of its cool climate and its close proximity to Metro Manila, there is not much to do there aside from eating and enjoying the weather. “They need a place to go to see art in Tagaytay,” Orlina says.

Viewing Orlina’s glass sculptures, one can see each facet from every angle and appreciate the lean of each curve. The artist points out another aspect of glass – “You can see yourself in it.”

As the sunset colors the sky and water a deep orange, the light filters into the galleries of Museo Orlina and caresses the glass sculptures within. The browns, greens, blues make the museum a cathedral of stained glass, a play of light and shadows.

Orlina is right – glass is magic. And he is the magician who has mastered it.

Museo Orlina is in Hollywood Subdivision in Tagaytay City behind Econo Hotel. For more information, email orlina@pldtdsl.net.