Galleria Nicolas opened its doors in September 2009 with the show from the late National Artist Federico Aguilar Alcuaz in exhibit titled: "A Tribute". Located at the 3rd floor of Glorietta IV Mall amidst signature boutiques and shops in Makati City, Galleria Nicolas is dedicated to promoting the best of Philippine Art, with a wide collection of works done by some of the most sought-after painters and sculptors in the country such as National Artists Abdulmari Imao and Federico Aguilar Alcuaz, as well as internationally renowned artists like Juvenal Sanso, Eduardo Castrillo, Ramon Orlina, Dominic Rubio, Lydia Velasco, and Michael Cacnio.
Galleria Nicolas takes you into a world of elegance and discovery as you enter our white washed gallery walls and are welcome by the breathtaking paintings and sculptures, thoughtfully curated for your viewing pleasure. Galleria Nicolas offers an escape from the busy streets of Makati to a quiet and relaxed ambience, as it is envisioned to be home of modern art in the Art Space.
The world is too diverse to be under the light of so many perspectives. Today, humanity has evolved into a large body of separate but ever-growing identities--culturally, socially, politically, and psychologically. Various events have influenced the core of human decision-making, led by the subconscious grounded on basic instincts emanating either from physiological or emotional sources. Humanity's experiences enhance these throughout different courses of life. In Penuliar’s view, the progression of life is what can be learned from the past, anchored in the present, and improved on in the future. Humanity holds on to experience just as tightly as how they do with life. The growth of human life and behavior are enhanced because of experience. The diversity of the world is congruent with man's unparalleled power to move on. And it is because of this that one fundamental concept stands out—acceptance.
In hyperrealist painter Jaspher Penuliar's latest exhibition, he embraces the nuances of the human heart when it comes to the idea of acceptance. "My paintings are based on the reality of our need for acceptance," he quips. Entitled The Moment of Eternal Surrender, the exhibit is anchored on man’s fully accepting what has happened and is bound to happen. The paintings here magnificently express the dichotomy between acceptance and rejection/resistance.
Significantly peppered with symbolisms, Penuliar emphasizes that acceptance comes in many forms. Using perhaps one of the most compelling and difficult events that test an individual's will to accept, he aptly wraps the idea of death as a recurring element through the presence of mummification. "[It's] like a practice that says we cannot fully let go of the death of those who are dear to us. Mummification seems like a 'delusion' of letting them live again."
Two other prominent elements also appear in several of his works--eggshells and katanas. These two are his representations of resistance and rejection. The eggshells, according to him, signify the fragility of choosing to go out of our comfort zone. Being sheltered manifests the idea of comfort, hence, the ease of accepting how things are. However, discomfort is one of the primary reasons for rejection, as seen in his subjects' grotesque positions. The katana, on the other hand, is his symbol for resistance. "It's our way of fighting off the things we choose not to accept," the artist shares." It's our aide in getting through challenges." Furthermore, Penuliar's depth in concept harmonizes with his superb technical skills. With masterful renderings that give off an undeniable contemporary stamina and accurate personifications.
Penuliar was born October 1, 1980. He studied Fine Arts at the University of the Philippines, majoring in painting. Staying in his hometown of Laguna, he explores and presents his usual perspectives of humanity trapped by socio-cultural conventions and mores. Yet, in his paintings, Penuliar presents a vision of hope and deliverance bathing his forms with a promising light source as if telling his viewers that in spite of the stark images he paints on canvas that enlightenment and freedom are just on the horizon.
The Moment of Eternal Surrender will be exhibited in the Galleria Nicolas booth, booth C7 at ManilART in SMX Aura, BGC, Taguig City from Thursday, 12 October to Sunday, 15 October 2017. For more information, please call (632) 6250273.
In the sixteen years since he entered the scene as a professional artist, mounting his first solo exhibition “Grand Expressions,” Dominic Santos Rubio has steadily built up his repertoire and reputation. His iconic “people type” oil on canvas paintings depict Philippine identities of a past age: inquilino sharecroppers, principalia landowners, compradores, etc., airily milling about an Old Manila milieu. Now, Dominic returns to his roots as a Paete-born artist, unveiling a new stylistic exploration in an entirely different medium – brass sculpture.
Trained in the commercial arts in the University of Santo Tomas, Dominic worked in advertising and was an artist-in-residence at Pearl Farm, Davao del Sur before catching his break in 2006 – debuting what was to become his signature style. Readily recognizable, his most famous iconography charmingly features larger-than-life subjects towering over quaint miniature background renderings of 19th century Manila panoramas. Similar to the forced perspective photography technique, Dominic places the doll-like figures close to the edge of the picture plane, while depicting the background as dramatically small in comparison. Set against stark monochromatic skies in bold crimson, pale yellow, and muted beige, the artist renders romantic dioramas of what used to be Binondo, Tutuban, Escolta; families attending Sunday Mass in Malolos Church, riding a kalesa down Paseo, or a mestiza de sangley riding a bicycle. Always, Dominic’s figures express a disattached countenance, sporting uniform Sinitic features while they float about on Lilliputian limbs. Their dress, owing to the influence of Damian Domingo’s tipos del pais, seem to hover half a foot or so above their bodies, lending them an inflated ethereal quality that has become the artist’s distinctive mark.
His new series of artworks, a leap beyond the boundaries of two-dimensional depiction into three-dimensional sculpting, is an invigorating new step for Dominic Rubio. Hailing from Paete, Laguna – a municipality known for its artisans and carvers of po-on – Dominic fulfills a long-time aspiration by elegantly translating his strong linear style into the malleable medium of brass. The sculptures feature the familiar social and economic diversity of the Philippines during its time as “The Most Beautiful City in the Far East.” “Crisostomo” is a well-dressed businessman in a top hat and barong decorated with capizdetail; the “Sabongero” is a moustachioed man in a salakot holding a handsome fighting cock; a “Bagoong Vendor” is accompanied by three pots – two on the base and one balanced on the head – and garbed in a homely baro’t saya ensemble; while a family of three candidly habitate “Paseo.”
While still rendered in his people type style, comparing Dominic’s painting and sculpture unearths dynamic changes in his work’s metanarrative. The elongated neck, an allegory for nationalistic pride, is present in a more balanced composition; the minute changes in proportion lending the Rubio figure more harmony. Their complexions are a textured dark brown, befitting of brass’ bright, gold-like appearance that adds a layer of depth to the Filipino’s underrepresented sun-kissed color. Following in the tradition ofminiaturismo, Dominic’s sculptural figures sport intricately decorated accouterments: a woven basket, an embroidered purse, and a stray dog to name a few. As with its use in the 19th century, these minute details are indicative of the subject’s social class and identity constructed through societal roles and the kind of labor expected of them. These markers, forgotten yet familiar, evoke a strange nostalgia; the particular people, places, and professions they characterize are long-gone but the economic stratification remains, as if a specter of the present was precognized in the past, and vice versa. Today, vestiges of Old Manila are hidden in plain sight, but its legacy can still be felt tangibly in our everyday life.
Finally, the most notable difference between Dominic’s painting and sculpture is the absence of the miniaturized panoramic background that contextualizes and activates his paintings’ giantism effect. By casting his figures in solitary profile Dominic takes away the lavish backdrop, yet still the aura of the Pearl of the Orient remains – albeit not unchanged. These characters, extant in the Filipino's collective imagination, carry metonymic worlds on their shoulders without needing to say a word. But by removing them from their 19th century plazas, Spanish/American architecture, and picturesque bahay-na-bato, and literally transplanting them into the present, Dominic allows the nostalgic to enter the contemporary.
As a staunch advocate for the preservation of national cultural heritage, Dominic’s reinterpretation of Old Manila – into both two- and three-dimensional visual media – makes concrete an abstract history. He accords this past with renewed significance while reinjecting its imagery into collective living memory. By depicting pre-war Manila, especially as brass sculpture, not only does Dominic insure that Manila’s golden years will be remembered, he also reforms heritage into a malleable construct. His latest foray into sculptural form is an homage to the colonial Filipino identity carefully balanced between native and imperial, classic and modern; posing questions of identity in a more approachable place. The brass sculptures take ownership of a “traditional” Philippine history as 3-D models, but also as caricatures, opening up a conversation on national identity and Filipino-ness past iconography, essentialism, and primitivism.
Dominic Rubio revitalizes his roots, repertoire, and relevance in this new series of brass sculptures. As tangible recreations of Old Manila, the new series calls to mind similar efforts to adapt and reuse old structures, like the Luneta Hotel and Casa Tesoro in Ermita, the Malate Church, and the much-anticipated Metropolitan Theater. These historic sites and structures are strategically altered in order to strike a balance between identity preservation and utility; Dominic’s sculptures perform much the same. While they are recreations and re-presentations of nostalgia, they are also active expressions of hope for the preservation and re-production of Philippine cultural heritage.
Depicting the landscape through painting and other visual means has an established tradition in Philippine art. Early examples often provided a tableau for religious themes, such as the crucifixion, found in the stations of the cross or in home altars. Early traditions of the vistas and letras y figuras often showed vignettes of city life, where the landscape, as well as the various peoples in their fineries and unique ways of dressing, showed the landscape as an aspect of culture. Luna and Hidalgo both did landscapes of Marikina and the Pasig River. Lorenzo Guerrero is known for his exemplary depiction of the burning of Sta. Ana in the late 19 th century. The 19 th century female artist Adelaida Paterno embroidered Philippine landscapes on fabric using female hair in a manner that makes it look like a European etching. But most notable of the landscape painters would probably be Fernando Amorsolo, who not only depicted genre scenes but pure, unpeopled landscapes as well. His popularity gave rise to a slew of landscape painters who exhibited and sold their paintings at Mabini, and which, because of both the rise of modern Philippine art, as well as the hackneyed technique of many of the Mabini painters, the landscape as a painting genre lost traction among the country’s academicians and culturati. Very few artists who dedicated themselves to landscape painting would reach critical and popular support. Juvenal Sanso, with his poetic imaginary seascapes, based on the fusion of the Philippine coasts with baklads and the coasts of Brittany with the solitary boats and tideline posts, would be one. Among the remainder of this ilk would be Rudolf Gonzalez, who started his career 50 years ago, and has focused on his gleaming interpretations of the tropical sea.
Rudolf Gonzales sold his first painting at the age of 12. This is not a total surprise as he grew up in a family of painters. His father, Rick Gonzalez, is also an accomplished painter. Both of them eventually running a family gallery which was already active in the 1960s. Now 62 years old, Gonzalez is celebrating his 50 years in art through a simultaneous exhibition at Galerie Francesca, in Megamall, and Galerie Nicholas in Glorietta. The exhibition “Sublime Seas: Rudolf Gonzalez’ 50 Years in Art” pays tribute to both the romantic notions and the spiritual aspects of the sea – a subject ironically with very few representation in the Philippines, which is surrounded by it. “Sublime Seas” is the summary of Gonzalez’ experiences of the seas of our country and of Hawaii, where he frequently visited his cousin, another notable painter of the sea, Roy Gonzalez Tabora. Gonzalez’ seascapes provide an array of seascapes where the waves, the wind and light create a dazzling vista, conveying both the ideals of the romantic and the awe and spiritual experience of the sublime.
Sublime Seas: Rudolf Gonzalez’ 50 Years in Art is jointly presented by Galerie Francesca-Megamall and Galleria Nicolas. Artist`s reception will be on Sept. 7, 6:30pm at Galerie Francesca-Megamall. Exhibit runs simultaneously from September 5 to 17, 2017.
The essence of life comes from its seemingly random ability to upend the cold precisions and calculations of the universe. In a way, it is a small miracle that life – with all its impossibilities – can spring forth to disrupt the clockwork of the cosmos. Visually, it would make a spectacular rendering—a kaleidoscopic nebula swirl against the darkness of the void.
Painter Ombok Villamor imagines the visual potential of this idea in his series of organic abstract paintings that depict the spontaneity of life. His paintings examine the minutiae of forms in different abstract permutations to create canvases that resonate with energy and verve.
For his latest exhibition, Living Nebulae, he examines the concepts of life as celestial bodies, in organic forms that meditate on the spiritual dimensions of life as contrasted against the coldness of space. The exhibit runs at Galleria Nicolas at Ayala Center in Makati from May 9-18 and will continue his series of life forms, but this time from the vantage point of the ether.
Galleria Nicolas is located at the Third Floor Art Space in Glorietta 4, Ayala Center, Makati City. For more information, please call (632) 625-0273, or email firstname.lastname@example.org.
Rustom Cleofe “Ombok” Villamor (b. 1979), is a product of North West Samar State University, where he graduated with a degree in Architecture. A professional graphic artist, Ombok has gained recognition from a variety of award-giving bodies, including being a Finalist in the Non-Representational Category at the 2015 GSIS Art Competition, and a Semi-Finalist in the Oil Category of the 2002 ArtPetron National Student Art Competition. A proud Visayan, his works have been included in the prestigious VIVA EXCON Biennale in Bohol and Bacolod.
Villamor uses empty space to contrast dynamic forms, which was inspired by a childhood affinity for the depths of the sea. Mastering these forms, he has experimented on their placements against a variety of fields. In this exhibition, against the backdrop of spatial void, his forms resemble galactic fields—one can imagine the formation of the Milky Way galaxy in his works. Rendering in monochrome black and white only heightens the perception of dynamic interplay, bringing a sense of movement in each painting.
It is becoming increasingly clear that the scope and reach of Villamor’s practice will lead him to one-day becoming one of the definitive abstractionists of his generation. In the present though, we are content to let the artist’s remarkable vision of the universe wash over us as a reminder of its vastness.
Light is the essential component of visual art. How artists are able to capture reflections and refractions is one method to ascertain their skill. Crystals and prisms are thus a favorite – albeit challenging – subject for artists looking to inject energy into their practice. The likes of Ramon Orlina were able to capture this quintessence in glass sculpture, and Juvenal Sanso was able to do it in painting. Into this group, we now add Jomar Delluba, who delves into crystalline abstraction in painting for his latest exhibition, “Prismatic Radiance,” at Galleria Nicolas.
The exhibition runs February 28 through March 10 at Galleria Nicolas in Glorietta IV, Makati City. Galleria Nicolas is located at the 3/F Art Space of Glorietta IV, Ayala Center, Makati City. They may be reached through their landline at (632) 625-0273, or email at email@example.com
The exhibition represents a new direction for Delluba, who is better known for his whimsical figurative paintings of dancers and ballerinas. Though his figurative work is in very much in demand, the artist has courageously chosen to chart a different, thought-provoking course. His new series is decidedly more cerebral, invoking questions of the nature of light, space and object, and the relationship between light and form.
His new paintings of prisms and crystals, against a neutral, earth-toned background, are explorations of organic geometry. Each painting focuses on singular hues, that bend and mirror light giving them a heavenly glow. The overall impact on the artist’s practice is a deeper oeuvre that showcases an intrepid range, as well as a keen intellect.
Jomar Delluba's practice is one of excruciating detail within a highly-explored technique. After a year of learning drafting technology in college, he started joining and winning drawing contests in his province of Laguna. It wasn't long before he started apprenticing under renowned surrealist Jerry Morada. Delluba has since gained numerous recognitions, which include him being named Juror's Choice at the GSIS Painting Competition. Delluba sees his art as an intensely personal experience.
Works in "Prismatic Radiance" show a new side to the artist, demonstrating an affinity with energy, light, and abstraction within the context of an ever-developing oeuvre.
The great American orator William Jennings Bryan said that destiny is not a matter of chance, but a matter choice—a thing that is waiting to be achieved. AiaHalili is a good example of this idea. An interior designer and devout mother who is dedicated to her parish’s causes, Halili is a reluctant artist. Reluctant because she admits to having wanted to be an architect. A family friend convinced her father that architecture was a man’s occupation, and he consequently leaned on the young kolehiyala from Maryknoll (now Miriam College) to try giving fine arts a shot. Halili subsequently enrolled at the College of Fine Arts of the University of the Philippines, where her dean was National Artist Jose Joya, and among her teachers was National Artist Napoleon Abueva. She majored in painting, while simultaneously taking classes at the Philippine School of Interior Design.
From there, Halili forged a successful career as an interior designer, as well as making religious items for the benefit of her parish. Every so often, she would also exhibit paintings of Marian portraits. But the lure of designing tactile, three-dimensional artworks was too great, and the artist found a fantastic compromise in sculpture. Recalling the basics from her days in UP, she taught herself the advanced techniques of molding and casting, and eventually found herself as one of the select few sculptors who work with cast metals, such as steel, bronze, and gun metal. It is a laborious, highly-nuanced technique that requires patience and skill—but Halili found that the elements of architecture that appealed to her – such as the planning, preparation, and mind for volume – are essential virtues in sculpture. The works she has since made – reflecting the values she places in Filipino traditions, family, and home – will be on display in her one-man exhibition at Galleria Nicolas in Glorietta 4, Ayala Center, Makati City.
Opening on Monday, November 23, the exhibit is titled “Serendipity,” which is an appropriate title as Halili believes it was fate that led her to sculpture. The exhibition will run until 7 December 2015. Galleria Nicolas is located at the 3rd Floor Art Space of Glorietta 4, Ayala Center, Makati City. For more information, please call (632) 625-0273, website at www.gallerianicolas.com, or email firstname.lastname@example.org. The nature of Halili’s work is apparent in even the most cursory of examinations. Metal casting is usually only done for large monuments, and Halili’s innovation was to scale the process down to something that can fit in a home or office. Since the works are made of metals, they have a heavy and solid feeling. The process is also excruciatingly detailed, and requires a sculptor with a highly refined skill and sense of weight and volume. Halili first crafts the image in a material such as clay, before she makes a foundry mold where metal is poured in.
To contrast the inorganic feel, Halili also incorporates organic elements such as antique wood to balance her works out—oftentimes, in very creative ways. This is evident in a works such as “Juan Sipag’s Harvest,” where the tree is represented as a bisected wooden branch—of which a lazy carabao sleeps underneath the shade. A sensitive artist, who nonetheless has complete mastery of the advanced techniques needed to create detailed, thought-provoking images of family and nature, Halili’s solo exhibit heralds the arrival of a sculptor to watch out for. Her oeuvre is a refreshing approach on sculpture, breathing new life into what was becoming a staid art form dominated by works of sheet metal. What more, her works are the kind that will appeal of collectors looking to add a certain Filipino je ne sais quoi to their collection.
For Aia Halili however, this exhibition means validation for her decision to seize her destiny as one of the country’s premier sculptors.
This Year's installment of ManilArt2016, Galleria Nicolas is proud to represent Neo-Genre artist Dominic Rubio for his solo exhibition.
For many Filipinos, the past can sometimes offer a vision of long-forgotten elegance and sophistication. Turn-of-the-century Manila of the late Spanish and early American periods was a bustling and prosperous city, and this image is one that resonates with Filipinos eager to recapture the spirit of those times. This nostalgia is what famed painter Dominic Rubio uses as the foundation of his practice.
Rubio’s uses these memories as a jumping point to his unique treatment of figuration. His trademark elongated necks are paired with an acute attention to detail and a respect for thorough research. A brilliant character painter, his subjects are of a historical leaning and therefore wear the details of their historical time-period—costumes, equipment, and even the backgrounds of churches and other colonial buildings all conform to an idyllic reimagining of the past.
It is Rubio's placement of these figures into the realm of heritage and nostalgia that sets the University of Santo Tomas-trained painter apart from other artists. Art critic Cid Reyes once said of Rubio's practice: “Arresting is the punctilious application of pigment and the delineation of the figures…technically adept, Rubio displays impressive workmanship.” It's an attempt to seize that idyllic moment in time - in this case a very dreamy idea of turn-of-the-century Philippine society - through a superb and unrivalled technique. A technique so magical that once can actually see oneself in one of Rubio's works.
Dominic Rubio has had several critically lauded exhibitions in and around the region, including shows in New York, Hong Kong and Singapore. He recently and successfully unveiled a mural entitled ‘The Great Promenade of Philippine-American Friendship’ that has become the artistic landmark feature at the Philippine Embassy in Washington DC earlier this year. A fixture of international auction houses, Rubio is one of the most celebrated visual artists today.
An artist referred to as a Master indicates a standing within the art community that is both admired and respected. It is bestowed in recognition of the kind of practice that has come to define a certain method or aesthetic—not mere mastery of style, but so clear an identification that the artist has become synonymous with the movement or medium he represents.
So it is with the likes of Presidential Medal of Merit Awardee Juvenal Sanso and Expressionism, for instance; or National Artist Federico Aguilar Alcuaz and bold brushwork; Eduardo Castrillo and bronze and brass monuments; or Raul Isidro and abstraction; Ephraim Samson and watercolor; or Rudolf Gonzalez and landscapes. When these artists are mention, we no longer need to discuss the characteristics of their works, or the ways of the practice. Their names are already accepted as universal descriptors of their styles.
Galleria Nicolas examines the works of these artists in parallel dialogue with each other in this specially-curated exhibition that surveys a fantastic representation of each of these Masters in this years ManilArt2016 at the SMX Convention Center, SM Aura, Bonifacio Global City Taguig.
Art is a kind of language, used to communicate complex ideas in visual manner. In this way, abstraction reveals a highly nuanced mind that has moved beyond the mere mimicking of reality. When Plato wrote about form, he used the allegory of the cave to demonstrate his point—that the reality we experience are but shadows of perfect forms that exist beyond our level of comprehension. Abstractionists seek to distill the visual reality into a similarly pure form, condensing and deconstructing figurations until what remains is their essence characterized by lines, shapes, and colors.
Perhaps there is no truer proponent of the power of abstraction than Modernist Raul Isidro. Emerging from the formative years of the Late Modernism period in the 1970’s, Isidro’s pioneering print and painting practices used abstracted form to express that boisterous period of Philippine art history. Today, this is reflected in his ability to arrange order from chaos, manifesting works that bridge the discourses of Modernism between the immediate postwar period and the contemporary.
“It is funny because in those days, they said that if you were painting abstract forms it meant you couldn’t draw,” said Isidro of his roots and the nature of abstraction. “But there was something about jumping shapes, from squares, to circles, to rectangles, that is really more honest.”
Raul Isidro re-navigates the concept of abstraction for his next one-man exhibition at Galleria Nicolas, entitled “Light and Shadows.” The exhibit opens on Wednesday, 16 March 2016 and runs until March 31 at Galleria Nicolas in Ayala Center, Makati City. Galleria Nicolas is located at the 3/F Art Space of Glorietta 4, Ayala Center, Makati City. They may be reached through their landline at (632) 625-0273, or email at email@example.com.
Raul Isidro (b. 1943) is a native of Calbayog in Samar. He is a product of the Fine Arts program of the University of Santo Tomas, where he finished with a degree in Advertising. At UST during the period was National Artist Victorio Edades, regarded as the leading advocate of Modernism in the country. It is not surprising that among Isidro during his time at UST were other stalwarts of the Late Modernist period, including sculptors Ramon Orlina and Eduardo Castrillo.
Isidro first exhibited at Solidaridad Bookstore’s Gallery in 1969, at the invitation of National Artist for Literature and Solidaridad owner F. Sionil Jose and has had over 50 solo shows since then. From this first show, the foundations of Isidro’s practice were laid, and he soon became known as a formidable abstractionist, eventually garnering multiple awards such as inclusion in 1979's group of Ten Outstanding Young Men (TOYM), and the Outstanding Thomasian Award in 2006--an honor he shares with Ramon Orlina. He also won the Cultural Grant Award from the Australian government in 1981 and was a 1st prize awardee at the Printmakers Association of the Philippines Annual competition in 1972. It was also in 1972 that Isidro began what eventually became a long association with the Fine Arts program of the Philippine Women’s University (PWU), where he nurtured the department which was founded by pioneering printmaker Manuel Rodriguez Sr. Through his tenure at PWU, where he eventually became Director of the College of Fine Arts in 1975, Isidro became heavily involved in printmaking--which also served to enhance his approach to painting. His two mediums served to complement each other in ways that were, at times, revolutionary.
Isidro is known for being dedicated to abstraction as a purist of the aesthetics, which he has always regarded as the highest form of painting. "I was looking for symbols that I could use as themes," the artist told art critic Leo Banesa in 1980. And Isidro uses the depth of abstraction to demonstrate these themes.
These new works give the public a chance to experience the practice of one of the most recognized abstractionists in Philippine art history, as well as educate themselves in the meaning of abstraction. Through his formidable skill and vision, Raul Isidro's practice stands the test of time.
The famous French naval explorer Jacques Cousteau said of the sea that once it casts its spell, “…it holds one in its net of wonder forever.” The idea of the seahas captivated a multitude of artists for generations. Standing on the shore’s edge and watching boats, ships, fishermen, and sailors brave the open sea is a powerful image of hope, optimism, and a respect for nature.
Each artist approaches the sea differently. Juvenal Sanso used a fine expressionist aesthetic, while National Artist Federico Aguilar Alcuaz was bolder in his brushstrokes and colors. Artist Rudolf Gonzalez is unique, in that he takes a highly-tuned grasp of tropical light and shadow to paint romantic works of the seascape.
His latest works in this genre will be displayed in new exhibit entitled “Romancing the Sea.” Running at Galleria Nicolas from October 21-November 3 with an artist reception on Thursday, October 22 at 6:30 p.m., this exhibition demonstrates the artist’s ability to merge vision with a nuanced technique.
Galleria Nicolas is located at the 3rd floor Art Space, Glorietta 4,, Ayala Center in Makati City, For more information, please call (+632) 625-0273, or email firstname.lastname@example.org.
The mercurial Rudolf Gonzalez is often considered a Master of seascapes and still-lifes. Having a degree in advertising from the Far Eastern University, Gonzalez is exceptionally empathic in his ability to evoke emotions through his visuals. There is an element of realism in Gonzalez's works, but of an idyllic sort that recalls the oeuvre of Fernando Amorsolo in capturing the essence of light, and Juvenal Sanso in establish an emotional resonance with his audience. It isn't all together surprising, then, that the artist counts Rembrandt and John Singer Sargent as his influences--both artists were pioneers in their experiments with light and shadow.
The works on display in this exhibition are truly one-of-a-kind pieces that are representative of Gonzalez’s practice. It's no wonder that Gonzalez has been attracting critical attention in recent years. Having exhibited in expos in Chicago and Los Angeles. His works have been carried by galleries in the US and Japan, and have been sought-after by collectors from all over the world. This exhibition is meant to cement the artist's growing presence in the larger Philippine art community--a presence that will undoubtedly experience more attention in the years ahead.
Collaborative work in visual art is nothing new. There are many examples of two or more artists finding inspiration in each other’s practice for new perspectives. Integrated art, however, is a pioneering approach to collaboration. The dialogue exists by blending existing media with another’s signature aesthetic to not only create an entirely new artwork, but also breathe life into older works.
What if the bar is raised and what would be integrated are the works of two titans of modern art? Galleria Nicolas explores this question for their contribution to this year’s edition of the Manila International Art Fair, or ManilART 2015. From October 9 to 11, 2015 at the SMX Convention Center Taguig at SM Aura in Bonifacio Global City, “Two Titans: Aguilar Alcuaz & Castrillo” brings together the practices of two seminal figures in Philippine art history.
The exhibition will be on display in Booth C6 at ManilART, at SM Aura’s SMX Convention Center, McKinley Parkway, Bonifacio Global City, Taguig City. For more information, please call (632) 6250273, or visitwww.gallerianicolas.com
This unique exhibition takes two of the leading figures of the Philippine Modernist period and integrates their works. Modernist icon National Artist Federico Aguilar Alcuaz has a vast and renowned artistic practice that is noted for demonstration of both his intellect and his flair for experimentation. His works ran the gamut between tres maria portraits, landscapes of both Manila and Barcelona, abstracted figurations, and pure geometric or pattern-induced compositions. He also dabbled with the very medium of these works. His abstract mosaics, for instance, used rolled-up paper to create linear waves that exhibited a highly regimented outline of texture and form. On the other hand, Eduardo Castrillo is best known for his prominent public monuments—from the People’s Power Monument along EDSA to the Bonifacio Relief next to Manila City Hall. A sculptor of immense renown, Castrillo’s innovation is in applying the jewelry technique of using metal sheets and scaling them upward to craft out larger works—a long and arduous process. This requires that the sculptor be a talented artist, possessing the ability to translate concepts and ideas into the final monumental sculptures. This exhibition, however, presents to the public a rare opportunity to view Castrillo works that are adaptable to offices and residences downscaled from his monumental sculptures, highlighted by fine abstract sculptures that utilize the artist’s renowned technique and attention to detail.
“Two Titans” is a posthumous interaction between the late Aguilar Alcuaz and Eduardo Castrillo. It is a highly conceptual show as Castrillo will be dovetailing an entirely new collection of sculptural works that integrates the works of Aguilar Alcuaz in his own masterpieces. This will give viewers an opportunity to see the abstract images in various dimensions: in the flat two-dimensional surface of the paintings of Aguilar Alcuaz and the three-dimensional works of Ed Castrillo. There will also be separate works, Castrillo sculptures inspired by the abstract movement as well as Aguilar Alcuaz’s paintings by themselves. A one-of-a-kind approach, this is a fascinating window into the aesthetics and history of Philippine Modernism.
Still life painting, that is artistic depictions of inanimate objects, has a very long history in Western Art. Ancient Egyptian tombs were often decorated with murals of fruit, or various man-made subjects such as vases. Ancient Greeks and Romans established rules of composition, and by the 16th century, still life was recognized as its own genre in Europe. Through these decorative works, artists can express their skill in composition, thus making this genre a demonstration of technical ability. More progressive artists even manage to inject restrained symbolism into these works.
Painter Rudolf Gonzalez embodies this genre through a practice that combines the expressionistic latitude of that emotion with a technique that perfectly captures the interplay of light and shadow in still life composition. His latest exhibition at Galleria Nicolas in Ayala Center showcases his latest works in still life. Called "Still Life Paintings by Rudolf Gonzalez", exhibit opens at Galleria Nicolas on Monday, March 30, 2015 and will run until Saturday, April 11, 2015.
Galleria Nicolas is located at the 3/F Art Space of Glorietta 4, Ayala Center in Makati City. They may be reached through their landline at (632) 625-0273, website at www.gallerianicolas.com or email at email@example.com
The mercurial Rudolf Gonzalez is often considered a Master of still lifes. Having a degree in advertising from the Far Eastern University, Gonzalez is exceptionally empathic in his ability to evoke emotions through his visuals. There is an element of realism in Gonzalez' works, but of an idyllic sort that recalls the oeuvre of Fernando Amorsolo in capturing the essence of light, and Juvenal Sanso in establish an emotional resonance with his audience. It isn't all together surprising, then, that the artist counts Rembrandt and John Singer Sargent as his influences--both artists were pioneers in their experiments with light and shadow.
It's no wonder that Gonzalez has been attracting critical attention in recent years. Having exhibited in expos in Chicago and Los Angeles. His works have been carried by galleries in the US and Japan, and have been sought-after by collectors from all over the world. This exhibition is meant to cement the artist's growing presence in the larger Philippine art community--a presence that will undoubtedly experience more attention in the years ahead.
Pioneering abstractionist Wassily Kandinsky once said that color is a power that influences the soul. Indeed color is used by abstract expressionists to portray the gamut of human emotions. Abstractionists capture feelings through their usage of color, and are thus unimpeded by the deliberated rules of anatomy—making them, in a sense, an almost purer type of artist. Within this realm, we find artist-activist Caress Banson and her abstraction practice, which she uses to benefit a wide range of social issues—urban hunger among them.
At this intersection of social involvement, there is Feeding Metro Manila (or FMM). FMM is a hunger relief charity, and their goal is to be able to support as many meal centers around Metro Manila as they can. Their biggest priority is to feed pre-school and elementary school children who are undernourished. FMM monitors both their physical growth and their academic progress in school.
In the light of this holiday season, Galleria Nicolas partners with Caress Banson for the benefit of FMM, with the hosting of a special exhibition entitled The Color of Life. It will be held at Galleria Nicolas, and features new works by the artist, with which the proceeds of the exhibition will go to fund FMM projects in and around Metro Manila reached through their landline at (632) 625-0273, website at www.gallerianicolas.com, or email at firstname.lastname@example.org.
Color is the dominant abstracted component of the exhibition, with Caress Banson using geometric patterns and bold swaths of brushwork to convey a lively and dynamic impression. Drawing on the traditions of Bauhaus, Paul Klee, and even abstract-expressionist Mark Rothko, Banson imbues her canvases with a sense of buoyancy, springing each abstracted object alive with her fantastic eye for detail.
Her grasp of abstract technique is one reason why we’ve seen Banson’s profile increase in the art community. But it’s her dedication to socio-civic issues that have earned her widespread admiration throughout all sectors of society. Through the sales of pieces from this exhibition, FMM will be able to continue its important charity work and finally put an end to hunger in Metro Manila. For both the art and the good cause, this exhibition is definitely a must-see event.
As the Great Depression ravaged through the United States, Franklin Roosevelt said that people look towards the horizon to find new hope. What is it about that disappearing beyond, where the sky always seems clearer, or the break of day that brings us optimism and hope? When one stands on the edge of the coast, it's as if time stops the moment the sun touches on the sea--making it seem that all things are possible. It is a singular experience of visual beauty that captures the dreams of humanity quite unlike anything else.
Painter Rudolf Gonzalez captures this effervescent feeling through a practice that combines the expressionistic latitude of that emotion with a technique that perfectly captures the interplay of light and shadow in landscapes. Entitled "Horizon," the highly talented Gonzalez presents new works from December 4 to 18, 2014 at Galleria Nicolas in Glorietta 4, Ayala Center, Makati City.
Galleria Nicolas is located at the Third Floor Art Space of Glorietta 4, Ayala Center in Makati City. For more information, please call (632) 723-9418 or email email@example.com. Please visit their website at www.gallerianicolas.com.
The mercurial Rudolf Gonzalez is often considered a master of seascapes. Having a degree in advertising from the Far Eastern University, Gonzalez is exceptionally empathic in his ability to evoke emotions through his visuals. There is an element of realism in Gonzalez' works, but of an idyllic sort that recalls the oeuvre of Fernando Amorsolo in capturing the essence of light, and Juvenal Sanso in establishing an emotional resonance with his audience. It isn't all together surprising, then, that the artist counts Rembrandt and John Singer Sargent as his influences--both artists were pioneers in their experiments with light and shadow.
But Gonzalez chose to focus his talent on seascapes. Having spent considerable part of his life in the United States, he developed a close affinity to the island of Hawaii and its picturesque coastline. He was also drawn to that State's large community of Filipino artists. This combination eventually lent inspiration to Gonzalez, who quickly developed a large oeuvre of seascapes.
It's no wonder that Gonzalez has been attracting critical attention in recent years. Having exhibited in expositions in Chicago and Los Angeles, his works have been carried by galleries in the US and Japan, and have been sought-after by collectors from all over the world. "Horizon," is meant to cement the artist's growing presence in the larger Philippine art community--a presence that will undoubtedly experience more attention in the years ahead.
The Philippines is known for its creative take on transportation. From the hardy rural carabao to the colourful city jeepneys, caritelas, calesas, and tranvias, Filipinos love to travel in style. So a journey (or biyahe) around the Philippines becomes a lively and rich adventure, where one can find himself in the company of open and delightful fellow travellers.
Artist Jovan Benito explores this idea of Philippine-style transportation in her new exhibit, “Biyahe,” which opens on Wednesday, November 12, 2014 at Galleria Nicolas in Makati City. Running until November 26, the exhibit is a fine example of Benito’s ability to capture Philippine folk motifs through a charming aesthetic.
Galleria Nicolas is located at the Third Floor Art Space of Glorietta 4, Ayala Center in Makati City. For more information, please call (632) 625 0273, 0915 414 5502 or email firstname.lastname@example.org. Please visit their website at www.gallerianicolas.com.
The exhibition sees Jovan Benito at her best, presenting flat renderings of transportation scenes. Using a bright palette, Benito’s works display Fiesta panoramas and classical scenes that demonstrate Benito’s astounding technique. Dominated by that same idyllic glow that exemplifies an Amorsolo, but adapted to suit a contemporary aesthetic style, Benito shows that she has mastered a classical Philippine art tradition.
Taking a cue from her own life growing up on in the rural community of Pakil in Laguna, Benito’s canvases are examples of folk life simplified. Always in abundance in her joyful works of art are happy and idyllic figures that Benito paints in a colorful, attractive, and cheerful way.
As a young artist, Jovan Benito has carefully grown and matured from being an apprentice to her husband, Filipino surrealist, Jerry Morada. She has, however, quickly discovered her own style, technique and palette of colors. Benito’s talent for observing the world surrounding her started as a child watching her artist father work on paintings of movie billboards. But, whatever she picked up from her father, her husband and other Laguna artists, ended there.
A great example of Benito’s aesthetic is “Maiden Voyage,” which depicts a traditional Philippine mode of transportation—the tricycle. In front of a typical market scene, the canvas bursts to life in a cacophony of colors. It is a lively scene that Benito captures with an idyllic deftness that really shows her technical nous. Likewise, we have “Bakasyon sa Taal,” which contrasts the use of a carabao with an automobile, in a sort of pasyal scene that is brilliantly executed in a buoyant manner.
This exhibition is representative of the kind of skill that Jovan Benito possesses. It is an exhibit of energetic and sparkling character, and will bring joy to its audience.
Key moments in a person's life are marked by movement--transitions between one point to another. Heraclitus wrote that the only thing permanent is change, and people are always in the midst of exploration. We are constantly in between different states of being, and these experiences serve to empower us and enlighten our perspective.
It takes an abstractionist like Camille Ver to fully grasp this decidedly abstract concept. Known primarily for her paintings of aggressively abstracted urban landscapes, she now explores the transition between that inorganic integration of forms to the raw spontaneity of nature. In between these two points of view, Ver becomes the mediator of divergent ideas and in effect synthesises a unique approach to contemporary abstraction.
Her efforts come to fruition in her latest exhibition, "Transition" at Galleria Nicolas in Glorietta. Running from June 24 to July 8, the show marks a significant milestone in Ver's artistic career.
Galleria Nicolas is located at the 3/F Art Space in Glorietta 4, Ayala Center, Makati City. They may be reached through their landline at (632) 625-0273 or email at email@example.com. Visit their website at www.gallerianicolas.com.
One of the art scene's rising young abstractionists, Camille Ver is a graduate of the College of Fine Arts of the University of the Philippines. As opposed to the common usage of controlled minimalism in abstraction, Ver prefers to use large swaths of brushworks and experiments extensively with color and depth in her practice. Her transitions between inorganic to organic subjects is emphasized by her forceful use of expressive strokes that are tempered by the tec-pen lines.
A reading of these transitions is best encapsulated with her urban paintings--none more representative of her sensibilities than "Untilted." In a very disciplined piece, Ver uses the emotions of the backdrop to silhouette her skyscrapers in a layered orange sunset. The pulse of the city however is indicative in the lines of that the skyscraper shapes contain, evoking set patterns that recall the trajectory of a torrent of electricity. It is also fitting that the painting bring to mind a sunset, as it a great jump point into an exploration into organic subject.
Of this transition, we have "Blue Trunk." A painting of a blue-tinted tree against a yellowing sky, the abstracted aspect is presented in a deliberate flurry of nature. White swirling lines break away from the linear and angular lines in Ver's urban scenes, and this movement is brought about by the artist's own journey in her bold experimentations in abstraction.
The exhibition represents a landmark in the career of Camille Ver, and cements her growing reputation as a leading abstractionist. It is also well placed in today's contemporary art scene as a progressive examination of the nature of movement and transitions. Art lovers are invited to share this journey by visiting the exhibition soon.
The Philippines year is bookended by two seasons: the brilliant colors of summer and the lushness of the monsoons. Each season brings about its own sense of beauty. One of the country’s foremost abstract expressionists, Karina Baluyut, juxtaposes these two seasons in a wonderful new exhibition in Makati City. Baluyut uses her own grasp of hues and texture in an exhibit that is a continuation of her acclaimed series of tropical flora and tides. An expressionist, Baluyut’s technique emphasizes emotion over mimesis, surrounding the viewer with an aura of a calming vigor that reflects the array of emotions each new season brings.
The exhibition is appropriately titled “Two Seasons” and opens at Galleria Nicolas on Wednesday, (tomorrow) November 27, 6:30pm, where part of the proceeds will benefit the victims of typhoon Yolanda. Two Seasons will run until December 10, 2013. Galleria Nicolas is located at the 3/F Art Space of Glorietta 4 in Ayala Center, Makati City. They may be reached through the landline at (632) 625-0273 or email at firstname.lastname@example.org.
Karina Baluyut is an Architecture graduate of the University of the Philippines and a topnotcher in the architectural board exams in 2004. This background in non-linear abstractions that architecture represents enabled her examination in the junction of emotion and the merging of color, shapes, and forms. With the eye of a skilled draftswoman and the sensitivity of a poet, Baluyut constructs new visual realities within the realm of abstraction and reveals the depth of her emotional resonance in works that carry the weight of dissonance, memory, and the awareness of the passage of time.
The works in the exhibition refect this approach and are reminiscent of the seasons they represent. A good example of this is “April Love,” a painting of red flowers that only bloom during the summer. In this painting, Baluyut not only sets about to aesthetically recreate the flora, but she also attempts to link it to an emotion--in this case, love. Summer and courtships are intertwined in the Philippines, and Baluyut has a remarkable grasp of this fundamental idea.
The monsoon, on the other hand, is represented by the tide, which Baluyut uses to represent the smoothening of the old. Buluyut emphasizes water’s primary characteristic of flexibility. Water surrounds and penetrates, and the calming consistency of the tide belies the fact that the coast, in time, bends to its will. The presence of color invigorates this process, and the normally monochromatic tones employed by Baluyut gives way to the vibrancy of hues. An example of this is “The Call of the Tide,” which uses texture to highlight the flexibility of the tide.
Karina Baluyut’s profile is becoming more and more prominent, with this fascinating exhibition promising to be a great chance to survey some of her more interesting works.
Perspective can dramatically change a work of art. What was once hidden at eye-level can be something completely new and different with, say, a birds-eye point-of-view. It takes an artist of wit and bravado to go beyond what is common and explore the different dimensions of what he paints. This also opens up a whole new world for an art-lover who is accustomed to taking in paintings from an ordinary angle.
Richard Arimado (b.1970) is such a painter. Painting birds-eye views of nostalgic street scenes, Arimado takes his audience on a journey of perspective, showing masterly street scenes from above with his figures looking up. Arimado’s distinct compositions use turn-of-the-century motifs that give his paintings a nostalgic aura that is only enhanced by his playful treatment of perspective.
Now, art lovers can view his latest works on display at his latest one-man show. Entitled Top Vieux, the exhibit will open at Galleria Nicolas on November 7, 2013 at 6:00 p.m. and runs until November 20, 2013.
The newly-renovated Galleria Nicolas located at the 3rd Floor Art Space in Glorietta 4, Ayala Center, Makati City hosts this much awaited Arimado exhibition. Inquiries may be directed to their landline at (632) 625-0273 or email at email@example.com.
Richard Arimado was born and raised in Manila and has always had an inclination towards the visual arts, studying Drafting Tech at the Technological Institute of the Philippines, and later Advertising at the Panday Sining Art Study Center.
The defining characteristic of Arimado’s art is that of a perspective. Arimado paints his subjects from the topview, in the act of looking up, pausing as if to examine the audience staring down at them. His vision of turn-of-the-century motifs shows a strong nostalgic tendency of our cultural past and of the artist's, as Arimado explores various aspects of the Philippine way of life. Freezing mid--walk was perhaps a luxury long forgotten, but successfully captured by the artist with wide--eyed curiosity.
For his latest exhibition, Arimado expands the settings of his paintings. Depicting his figures in boats along the Pasig River, or in the Tutuban Train Station, or in the plaza rotunda of a church, Arimado once again goes beyond his comfort zone and brings us to places of memory through the fantastic viewpoints that elicit playfulness and a cutting sense of humor. These paintings are wonderful guides of what our cities once were at the height of its greatness. In this manner, Arimado is also a painter of memory and history—but from the vantage point of idyllic nostalgia.
This lighthearted approach has seen collectors recently snapping up Arimado pieces. An Arimado artwork is perfect in the family room or den—where collectors can reminisce about a bygone era. Internationally, Richard Arimado is gaining much recognition in the art scene. In the recently-held charity auction of International Care Ministries in Hong Kong, Arimado’s 30 x 36 oil on canvas painting “Old Manila” fetched HK$39,800, or Php211,000. With his profile rising, Arimado’s latest exhibition has become a must-see art event and it would be a shame for any collector to miss it.
If the eyes are a window into one’s soul, how does one account for a camera lens? Mobile technology today has enabled practically anyone with a cell phone to become a photographer. Paradoxically however, the spread of cameras into such ubiquitous devices has also renewed interest in vintage photography and photographic images. Mobile apps such as Instagram and Hipstamatic have popularized filters that emulate older cameras, spawning a community of vintage photography enthusiasts who collect antique medium format cameras such as Hasselblads and Rolleis.
Through his canvas paintings, artist Almer Moneda surveys this interest in photography in a new show at Galleria Nicolas. Entitled Cranium-Matic, the show will run from July 29 to August 7, 2013 at the newly-renovated Galleria Nicolas at the 3rd floor Art Space of Glorietta 4 in Ayala Center, Makati City. For more details, please call Galleria Nicolas at (632) 625-0273 or email them at firstname.lastname@example.org. Please visit their website at www.gallerianicolas.com.
Currently residing in the art town of Paete in Laguna, Almer Moneda (b. 1987) is no stranger to visual arts. His degree in drafting from Laguna State Polytechnic University has given him a superb eye for anatomy and an ability to accurately depict mechanical devices. In Cranium-Matic, Moneda merges these two techniques into a surreal and hyperrealist oeuvre that brings some perspective to the photography community. Ideas such as the occasional voyeuristic tendencies of photographers, the “decisive moment” of photography ideologue Henri Cartier-Bresson, and the rules of composition are explored in a brilliant practice that recalls some of the most noted surrealist careers in art history.
Aside from the typical mimetic oil-on-canvas depiction of vintage Leicas and Rolleis, Moneda also attaches the cameras to the heads of various figures—adults, children, and even pets like dogs and cats. The degree of complexity in the details is a unique technique that Moneda has developed and reflects his drafting skills. A winner of various art competitions in Laguna, Moneda’s practice relies on an understanding of the world he portrays. He is an avid photographer and likes to collect vintage cameras, giving him that first-person viewpoint for his subject.
This exhibition is a great opportunity for art collectors to acquire works from a young and emerging contemporary artist. What’s more, photography buffs will lobe the attention to detail that Moneda imbues in his works. In any case, this is definitely an exhibition that should be visited.
Nothing is as important to the Filipino as family. And the typical Filipino family encompasses more than one’s immediate relatives—members in a Filipino family share all the trials and triumphs and go through life helping each other through thick or thin, regardless of whether one is directly related by blood or via extended families. The concept of an extended family comes naturally to every Filipino, and builds the foundation for his character and his relationship with the bigger world.
Noted sculptor Glenn Cagandahan explores the nuances of the Filipino family in his latest exhibition, Pamilya, at Galleria Nicolas. Opening on Thursday, May 9 at 6:30 p.m., Pamilya looks at the very essence of the idealized Filipino family in an idyllic rural setting. Featuring new sculptures and reliefs by the artist, Pamilya is a celebration of the Philippine family, as well as an examination of its essential characteristics.
The newly-renovated Galleria Nicolas, located at the 3rd Floor Art Space in Glorietta 4, Ayala Center, Makati City is host of this much awaited exhibition. The exhibit runs until May 18, 2013. Inquiries may be directed to their landline at (632) 625-0273 or email at email@example.com. Works can also be viewed at www.gallerianicolas.com
Glenn Cagandahan (b, 1977) is a sculptor of folk imagery and subjects, known particularly for his small mixed media sculptures of farmers and their families on carabaos. Trained at the College of Fine Arts of the University of the Philippines, Cagandahan’s practice seeks to establish Philippine cultural identity through the usage of rural genre scenes—a familiar motif in Philippine visual arts. Cagandahan distinguishes himself by adding another dimension, his scultures becoming idyllic representations of rural family life. Through his usage of these motifs, he presents a vision of a calm, peaceful, and simple life. Cagandahan presents traditional motifs in new ways—by placing them in mid-journey atop the very symbol of the Philippine character: the industrious and iconic carabao.
In Pamilya, Cagandahan pushes these motifs even further. Colorful family groups ride atop of a carabao, undoubtedly on their way to a family picnic. It’s Cagandahan’s unique reliefs, however, that truly exemplifies the essence of pamilya. Bayanihan, a work that shows a family carrying a house in the traditional way, shows how extended the Filipino family is—encompassing numerous titos, titas, cousins, and nephews. Fruit Vendor is a relief that shows a more traditional scene—mother and child, behind a fruit stall. Colorfully done, and with a sculptural technique that makes Cagandahan one of the foremost sculptors in the country today.
These reliefs brings much variety to the interested collector—providing him or her with the ability to hang the work on a wall as one would a paining, but occupying the volume of a sculpture. But it’s the theme of family that would draw an audience—Cagandahan skillfully taps into the very soul of every Filipino and reminds them of the essentialness of family and the need to help each other. In this sense, anyone looking to instill his or her home with the same set of values would find this exhibition interesting.
Galleria Nicolas curates the holidays of 2012 with a selection of cheerful and festive fine art pieces from its in-house artists.
Save the date on your calendar with a pink sticker because Galleria Nicolas Joins Affordable Art Fair Singapore for its 3rd edition. With a total of 86 Singapore-based and international galleries, you will be blown away! Pick from a variety of contemporary artwork, from paintings to sculptures, prints to photographs, all priced within the range of $100 - $10,000, with 75% of the works below $7,500.
Happening for the 3rd time at the F1 Pit Building from 15-18 November 2012, Affordable Art Fair is the perfect opportunity for you to start or add to your art collection as well as being a wonderful chance to enjoy a simple and relaxing day with friends and family.
ManilART is the largest visual arts fair in the Philippines today. It is slated to run from October 2 to October 6, 2012 at the SM Exhibition Center (SMX) in Pasay City. Now on its fourth year, it will exhibit over forty of the top visual art galleries nationwide representing over 500 artists. We seek to be a destination art event in Asia. Our aim is to promote Filipino visual arts and artists to the international market right here on our home front via a one-stop five day showcase of the best that the Philippine visual art scene has to offer.
Welcome the New Year with the brilliance of colors and the subtle energy of nature with new works by one of the country’s foremost abstract expressionists, Karina Baluyut. Juxtaposing the tabula rasa effect of the incoming tide (albeit with the multihued usage of fuschias, purples, and oranges) with the continuation of her acclaimed series of tropical flora, the architect-turned-painter indulges in a technique that emphasizes emotion over mimesis, surrounding the viewer with an aura of a calming vigor that no doubt echoes the best of our hopes at the start of the year.
Baluyut is an Architecture graduate of the University of the Philippines and has topped the architectural board exams in 2004. This background in non-linear abstractions that architecture represents enabled her examination in the junction of emotion and the merge of color, shapes, and forms. With the eye of a skilled draftswoman and the sensitivity of a poet, Baluyut constructs new visual realities within the realm of abstraction and reveals the depth of her emotional resonance in works that carry the weight of dissonance, memory, and the awareness of the passage of time.
Her new show, “Blooms and Tides” absolutely revels in this sensibility. Opening on January 25 at 6:30pm at Galleria Nicolas in Ayala Center in Makati, the show will stay there before moving to Galerie Joaquin Podium on February 1 to 7, 2012.
Galleria Nicolas is located at the 3/F Art Space of Glorietta 4, Ayala Center, Makati City. They may be reached through their landline at (632) 728-0124 and email at firstname.lastname@example.org. Galerie Joaquin Podium may be reached at (632) 634-7954 or email at email@example.com. Please visit www.gallerianicolas.com for more information.
The tide is an appropriate starting point. Representing the smoothening of the old, it is a telling sign of the new direction of Baluyut’s oeuvre, particularly focusing on the usage of water’s primary characteristic of flexibility. Water surrounds and penetrates, and the calming consistency of the tide belies the fact that the coast, in time, bends to its will. The presence of color invigorates this process, and the normally monochromatic tones employed by Baluyut gives way to the vibrancy of hues, recalling her recent experimentation with flora.
The juxtaposition of the tidal representations with blooming flowers is a natural one—the overarching idea is one of nature. And her new works in the series, originally inspired by a trip to Japan, displays the effervescence of tropical flora and all the tonal values. Blending well with the tide, Baluyut’s strong sense of the beauty of nature as a metaphor for one’s emotional experience is a powerful trope.
“Blooms and Tides” promises to be a show that shouldn’t be missed.
At seventy-one, Raul Isidro can successfully lay claim to being one of the most senior living Filipino visual artists of our time. The 1979 TOYM and 2006 Outstanding Thomasian Awardee has not given a day’s rest since his first burst to fame in the late Sixties and early Seventies with his distinct abstractions that derive their inspiration from nature. As Armando Manalo once wrote, Isidro was like National Artist Benedicto Cabrera, Rodolfo Samonte, and Mars Galang among the brightest stars of the Philippine Modern Art filament of the 1970s. This distinction was borne out of two inspiring moves: to anchor his work on abstract meditations of natural phenomena, and to instill in his memory the vibrancy of his idyllic childhood spent in the magnificent isolation of Calbayog, Northern Samar.
Known for his trademarked circular paintings with deep red gestural strokes and segmented shaped forms that he lightheartedly refers to as his Pakwan series, Raul Isidro’s backstory is as compelling as any Filipino’s who had to overcome great odds to survive and prosper. Spending his youth in Calbayog gave the young Raul fortitude and the sense of independence needed to survive the often-hard weather and living conditions. Coming to Manila to study at University of Santo Tomas for a degree in Fine Arts, Isidro imbibed the spirit of Modernism via mentors like National Artist Victorio Edades and Angelito Antonio. Among his classmates at the UST were the master of brass sculpture Ed Castrillo and glass master sculptor Ramon Orlina. Among his early colleagues in the art scene were surrealist Raul Lebajo and Lamarozza. His sense of adventure and artistic direction was also set by his friendship with Manuel Rodriguez, Sr. who introduced him to printmaking. A lifelong passion for Raul, it was through the unconventional techniques of printmaking that first garnered for him accolades at the Shell National Student Art Competition. His first solo show at La Solidaridad Gallery in 1969 alerted critics to his unique ability to fuse technique with a naturalist sensibility that was linked to another Modern free spirit, the National Artist Jose Joya.
In his latest solo exhibition at Galleria Nicolas at the 3rd floor of Glorietta IV and which opens Wednesday March 12, 2014 at 6:30 pm and runs until March 26, 2014, Raul Isidro continues to amaze audiences by his formal adaptation of abstract techniques that evolve into more surprising interpretations of nature. (Galleria Nicolas, 3/F Art Space, Glorietta 4 Ayala Center, Makati City, www.gallerianicolas.com, tel: 02 625 0273, 723 9418) Consisting of pairs or trios of column-shaped gestural abstracts with clear-cut outlines superimposed on a neutral gray ground, the resulting series of works plays with the abstract legacy of using triadic formal elements (warm-cool-neutral colors, or foreground-middle ground-background combinations) as building blocks to create the impression of a series of “floating rocks” a la Magritte. These painted “rocks,” which to some may remind them of the karst limestone islets of Coron Bay, are actually grounded on a more intimate memory: the sea rocks that jut on the breakwater of Calbayog when the artist was a boy. These indomitable creations of nature are associated by Isidro with virtues of determination and fortitude, and symbolize the strength needed to overcome adversities thrown our way by fate. Inscribed in each “rock” is a history of strokes and careful maskings that Isidro has overlain to produce a richly textured painting that reverberates in both natural simplicity and stylistic sophistication. Indeed, to master the art of painting rocks without showing them as such is a testament to the mastery of a Filipino Modernist like Raul Isidro.
Light affects visual arts in a number of profound ways. An artwork's ability to work with light - through techniques such as illumination and shadowing - allows us to cast judgment on its merits as a masterpiece. Familiarity with the usage of light is particularly nuanced when viewing works of sculpture, and the skill of an artist is tested by his ability to bend, reflect, and refract light. So it isn't surprising that the likes of imminent master sculptors Ramon Orlina and Michael Cacnio are well versed in the interplay between sculptural material and luminescence. When their new works are combined with and highlighted by the renowned abstract canvases of painter Carlo Magno, the resulting exhibition will be nothing short of breathtaking.
It is fitting then that these three artists open the recently renovated art landmark in Makati, Galleria Nicolas. The exhibition, Lumina, opens on 6:30pm, Thursday, January 24, 2013 at Galleria Nicolas, 3rd Floor Art Space, Glorietta 4, Ayala Center, Makati City. The gallery may be reached though their landline telephone number at (632) 625 0273, or email at firstname.lastname@example.org. Please visit their website at www.gallerianicolas.com. Exhibit runs until February 9, 2013.
Ramon Orlina can perhaps be regarded as the country's foremost sculptor. His pioneering and multi-awarded practice of using glass to create both abstracted and figurative artworks is often heralded as unmatched by any artist, both here and abroad. His recent forays into other materials - such as carved amber crystal - underscores his absolute mastery of light. His “Sunrise in El Nido II” is a cacophony of light bouncing and reflecting off the carved amber crystal in a myriad of ways, leaving the viewer transfixed as Orlina manages to convey the atmosphere of a sunrise over a fantastic destination spot like Palawan. The intrepid artist uses the material's natural interaction with light and dominates its direction. In “The Archer,” Orlina uses his more familiar carved green glass and constructs a plausible figurative archer-only abstracted to an extreme angular dimension and using available light to give the artwork weight.
Although younger than Orlina, Michael Cacnio has nonetheless gained a measure of renown on the back of a brilliant sculptural career incorporating a variety of material. His bronze works of genre, in particular, has seen his name uttered in the same company as National Artist Napoleon Abueva. The abstracted figurations also have an uncanny Filipiniana quality, with scenes such as his “Mango Vendor” of a roving farmer selling his fruit; or his “Father and Son,” with their attire of simple peasant garments and bygone pastimes like flying a kite. For Lumina, Cacnio delves into a completely new aspect of his practice-lighted sculptures that illuminate portions of the artwork, lending an ethereal quality to an already fascinating concept. So we have works such as “Meditation,” with the meditating figure illuminated with a soft-blue light from within, suggesting he figure is close to reaching enlightenment.
Carlo Magno complements these two heavyweight sculptors with the characteristic abstractions that have seen him become one of the foremost abstractionists in the country. His casual yet complex familiarity with light and how it interacts with aspects of abstraction like color and lines only serves to prove his lofty place atop the pinnacle of Philippine contemporary visual art.
Lumina surveys three of the most sought-after artists and examines how their practice plays with light. A fitting opening to the new Galleria Nicolas at Glorietta, it is definitely an exhibit worth going to.
This year saw the 150th birth anniversary of National Hero Dr. Jose Rizal, with the art community staging memorable events and exhibitions honoring his legacy. Indeed, in this new stage of nation-building, the country needs the guidance of his works and memory more than ever. Patriotism, pride in our country, and a belief that the Filipino can match up with the best of the world are things that Rizal has instilled in us as a people that remain relevant at the dawn of this new century. It is in this context that this year’s Rizal Day on December 30 becomes an even more solemn occasion—highlighting not only gratitude for the sacrifices he made, but faith that his teachings will lead our country towards a brighter future.
In recognition of his memory and building on his legacy, Galleria Nicolas is proud to hold an exhibition of works inspired by Rizal’s legacy. Featuring works from some of the finest contemporary artists in the country, the exhibition entitled “Rizal Legacies” Runs from December 26, 2011 through January 4, 2012. Galleria Nicolas may be contacted at (632) 728 0124 or by email email@example.com. Their website is www.gallerianicolas.com.
It is the spirit of our National Hero that moves the hands of these painters—and allows them to showcase their exceptional talent. Amador Baraquilla uses the face of Dr. Rizal in contrast to a wave in the form of the national tricolours—perhaps drawing attention to the force of Rizal’s influence. Dexter Simsim shows how Rizal implicitly guided the 1896 revolution via his portrait above that of a revolutionary reading his “Noli Me Tangere”. Noted artist Jaypee Samson continues his distortions of form with his piece entitled “Bet ni Rizal,” a piece that shows the figure of a modern-day student which recalls Rizal’s poem “A La Juventud Filipina” and his persistent belief in the power of education—a theme that is followed up by Sam Penaso’s brilliant portrait of a student entitled “Batang Rizal.” Joey Simsim, on the other hand, takes the handwritten manuscript of Rizal powerful satire, “Noli Me Tangere,” and superimposes the hero’s image on it creating the dominant image of the author and the masterpiece being one and the same—and reinforcing the authority of the written word in effecting change. Aljo Pingol Renders his interpretation through his signature Chagall-inspired forms. Kirby Roxas does something similar, using his trademark geometric textures above Rizal’s mouth under the words “Noli Me Tangere”—commenting on the pervasive issue of censorship that we still grapple with 150 years after his birth.
Jomar Delluba uses Rizal’s identification with the bourgeoisie illustrado group by dressing him in the clothing of the modern-day middle-class Filipino: that of a chic polo shirt while Dominador Larroza plays with his characteristic use of symbolisms, metaphor, and surreal tropes by literally highlighting Rizal’s genius through his glowing head: which in retrospect may also act as an allusion to the near-sainthood status we’ve bestowed on him.
Definitely a show worth seeing, Rizal Legacies promises to be a honourable salute to our National Hero that can’t be missed.