Kelly Sonio's Celebrations

Kelly Sonio’s celebrations
By Dexter R. Matilla
Philippine Daily Inquirer
First Posted 02:37:00 12/15/2008

AT first glance, Kelly Sonio’s terra-cotta figures may seem disproportionate.

Oversized hands and feet of figures having fun, women singing while vending their ware, children running up and about, townsfolk engaged in all sorts of revelry, and a clown putting on his makeup are just some of the pieces in the exhibit “Pagsaulog” in E Gallery at Serendra.

A grand-prize winner of the 2006 Metrobank Arts and Design Excellence in Sculpture, Sonio was inspired by his win and he is now looking to share that happiness through his works.

Sonio says he gained confidence after winning since it affirmed that he had something to offer in a field he had to learn all by himself.

“Pagsaulog” means “to celebrate” in Ilonggo, and as a native of La Carlota, Negros Occidental, Sonio is exposed to a very simple lifestyle in a rural setting.

“Our sleepy town jumps up and comes alive every last week of January to celebrate the annual fiesta,” he says. “The whole place becomes a joyful playground where everyone participates. This excitement is what I try to capture in the facial expressions and body language of my sculptures. I want to send a message that despite the poverty and hardship, people can still be joyful and somehow contended with their simple lives.”

Sonio meticulously forms his figures by hand using terra-cotta, taking as long as 3-4 days to finish one, and then sets them to dry for a month before firing them in a kiln. He uses acrylic to paint the details of each figure, working to enhance the appearance and highlight certain subtleties he wishes to emphasize.

It’s no easy task, he says, considering all the planning and conceptualization involved in each peace. The emotions, attitudes and moods of his sculptures are well narrated and clearly defined albeit purposely exaggerated.

“Pagsaulog” is significant in the artist’s career as it is his first solo exhibition and marks his true debut into the art scene. He chose to exhibit whimsical and happy moments depicting scenes from his childhood memories of fiesta instead of the more serious and sometimes depressing subjects, which he used to do.

Without fanfare, flair or frills, Sonio epitomizes the humble, sincere and diligent sculptor who just wants to make a decent name and living.

“Pag Saulog” is on exhibit in E Gallery, 2/F, Shops at Serendra, Bonifacio Global City, Taguig.

Best for the least

By Dexter R. Matilla
Philippine Daily Inquirer
First Posted 04:17:00 11/17/2008

MANILA, Philippines - Joey Velasco, the painter who depicted Jesus Christ sharing a meal with poor children of Manila in a modern-day setting, is now exhibiting in the United States. Fifteen of his works are on exhibit at the American Grand Hotel in Los Angeles and in San Diego.

Wracked by shortness of breath and severe cough, all due to his continuous kidney medication and the fatigue of travel, Velasco went from the two cities to Minnesota to give talks to Filipino communities.

“The Best for the Least,” the exhibit’s title, could mean a couple of things: providing the best for the least among us, and perhaps getting the most with as little as we have.

Through “Hapag ng Pag-asa,” Velasco has provided the children featured in the artwork a chance for their stories to be known, and, more importantly, it has saved them from a world of anonymity.

Some 10-20 years from now, when they’d have hopefully risen from the world they’ve been born to, they would be known as the original little kids of “Hapag.”

Velasco is receiving an outpour of blessings by making use of his talents with as little knowledge as he had when he started painting. After a kidney operation, he was gripped by the urge to paint.

“I am 41 years old and I am a painter,” he says. “I have painted a bridge between the terrestrial and the celestial and this has given life to my art.”

Velasco draws inspiration from Jesus Christ.

“The unquenchable fire of Christ’s solidarity with man by becoming as lowly as man… That He is never a far God but a very near Savior,” Velasco says. “His invitation is to live more in solidarity with others than be concerned with my own image or rights, my own comforts or lifestyle.”

He says that his trip to the US promotes this message of brotherhood among Filipinos. That though they left the Philippines, it is as if they never really left at all.

“There’s no ocean that separates us from them because of their willingness to carry those left behind amid the flood of adversities.”

While it certainly is impressive how in such a short time Velasco has done some 40 artworks already―most, if not all, well received not just by regular art patrons but more so by the general public―but the artist shares that he couldn’t help but wonder if his late father is proud of what he has become.

A carpenter-upholsterer, Velasco’s Papang would work in his shop, without so much as a complaint over the hardship of earning a living for the family. But his hard work soon paid off. Velasco was a law student in Ateneo with a decent second-hand car and dressed in long-sleeved shirts to fit in with his more privileged classmates.

Six months later, Velasco could no longer bear the sight of his father doing it all by himself, and decided to quit law school and help contribute to the household income.

“I was only 21 but I strongly felt in solidarity with my father,” Velasco says. “A strong passion for business grew in me and I tried different endeavors. I worked vigorously. After two years, I was able to buy my father a Mercedes-Benz. He was happy but I didn’t see joy in his eyes.”

Soon after, his Papang passed away. Velasco keeps wondering if his father had been happy with his decision to stop studying law. After all, the calloused hands of his Papang toiled for a very long time to see Velasco become a lawyer.

“When I turned 41, my mother, for no reason at all, mentioned to me that my father’s happiest and proudest moment of me was when I was 12,” Velasco narrates. “There was a typhoon. From the main building of our school to its gate, which was around 200 meters away, I had to walk through the flood, carrying my older brother on my back because I didn’t want the wounds on his feet to get wet. The words came to me with so much revelatory power. I realized that the greatest trophy of a father was to be confirmed and assured that his children will care for one another. No amount of school medal or even a Mercedes-Benz can be in par with the power of love.”

The famous line “He ain’t heavy, he’s my brother” has become a reality for the artist. In lifting up people, one is lifted up, too, according to him. These lessons are what Velasco hopes the Filipino communities in the US would take from him.

Velasco is opening another one-man exhibit on his “Manunubos II” in La Salle Taft, Manila, at 10 a.m. today.

E-mail the author at dxmatilla@yahoo.com

Art Mag wins citation

By Dexter R. Matilla
Philippine Daily Inquirer
First Posted 04:24:00 11/17/2008

MANILA, Philippines - For stepping into the unique idea of highlighting how corporations and artists continue to share the vision of enriching the public with the arts, Muse Magazine was awarded a Special Citation during the recent 30th Catholic Mass Media Awards (CMMA) at Teatro ng GSIS in Pasay City.

Published by Mediawise Communications Inc., Muse is a quarterly magazine on the arts, culture and travel. The CMMA described it as a “daring publication” committed to promoting corporate social responsibility that always takes into account the interests of its community readers.

The magazine was also recognized by the International Association of Business Communicators during the Gold Quill Awards at Hyatt Hotel. Gold Quill Merit Awards each went to Muse Magazine (Communication Creative Division-Publication Design Category) and Pursuits (Communication Skills Division-Publications Category).

Pursuits, a glossy magazine celebrating Insular Life’s 97 years as a significant part of Filipinos’ lives, was also designed by Mediawise Communications Inc.

Present during both awarding ceremonies were CEO and publisher of Muse Ramoncito O. Cruz, arts and events manager Noel Catacutan, and Fr. José S. Arcilla, SJ, senior writer.

Muse Magazine’s latest issue features a cover story by Arcilla on the Atenean as an artist. The issue also has features on Far Eastern University as a living museum; Douglas Nierras and the breathtaking new field of aerial dancing; and the sights that make Cambodia one of the most interesting places to visit.

Muse Magazine is available in all leading bookstores.

Metrobank art and design winners bared

By Dexter R. Matilla
Philippine Daily Inquirer
First Posted 00:15:00 11/03/2008

MANILA, Philippines - An artwork that impresses natural movement; another that presents a seemingly unnatural pairing; a home design that gives off nature’s natural warmth; and a sculpture that presents nature’s simplistic beauty.

These are the grand-prize winners in this year’s Metrobank Art and Design Excellence (Made) Awards, which held the awarding ceremony at Le Pavillion in Pasay: Raffy Napay for “Mahiwagang Pagbubukas, Galaw na Walang Wakas” (Water Media on Paper category); Ronald Jeresano for “I’m Still Hoping” (Oil-Based Medium on Canvas); Elrine Vicaldo for “Lesson of the Bird” (Sculpture); and April Rose Frigillana for “Nature’s Links” (Interior Design). They received P200,000 each.

Other winners: Dennis Atienza (second prize) and John Paul Antido (third) in Oil on Canvas; Janeil Arlegui (special prize) in Water Media on Paper; Byron Salarza (special prize) for Sculpture; and Adrian del Monte (special prize) for Interior Design.

Special prize winners received P150,000 while the second- and third-prize winners in the Oil-Based Medium received P175,000 and P150,000, respectively.

All winners received a trophy by glass artist and former Made winner Noell El Farol.

The Metrobank Foundation Prize for Achievement in Sculpture (MPAS) was also given to Salvador Joel Alonday for consistently creating a body of work that exemplifies excellence and dedicated craftsmanship. His creations are described as being driven by the life force that is the conflicting acute sense of the absurd and sexuality.

“As we move toward strengthening our advocacy in the arts through the Metrobank Art and Design Excellence, we envision to constantly open doors for our young artists and visionaries to freely express their observation, imagination, creativity and inspiration,” said Metrobank Foundation president Aniceto Sobrepeña.

Prior to the awards ceremony was the signing of the memorandum of agreement between Metrobank and Gawad Kalinga (GK) for GK-Metrobank Designer Village Challenge.

The national competition aims to raise the standards of excellence in building communities by encouraging students of architecture, interior design and landscape architecture from all over the Philippines to come up with the best designs for the poor in GK communities.

“Because art is for all, we aim to erase the borders that define art and design as something only a select few can enjoy,” Sobrepeña said.

“We believe that by providing the most liveable environment for the least among our brethren will not only uplift their spirits but will also help the poor function better as members of society. Ultimately, this can help create better lives.”

'Enamored' but minimalist Camille Ver

By Dexter R. Matilla
Philippine Daily Inquirer
First Posted 00:20:00 11/03/2008

MANILA, Philippines - Camille Ver describes her works as minimalist. BBlogger: The Accidental Art Journalist - Create Postut seeing her works on display in E Gallery in Serendra, Fort Bonifacio Global City, which are part of her “Enamored” exhibit, one would realize her love of color is anything but minimal.

“I am captured by color,” Ver says. “Through my works, I want people to see how an abstractionist can be expressive and passionate about the things that are going on around us.”

“Enamored” is her collection of abstract works painted on tiled wood, a surface that Ver has developed and transformed as her own.

And this she does in solitude. It is her form of escape, says Ver, who tries to make sense of all the complex mix of powerful and varying emotions and moods she experiences every day as a painter, art teacher, entrepreneur and gallery consultant.

“Instead of models, I use my feelings as subjects,” she says. “These strong feelings are manifested through the colors I apply to each painting. Somehow I try to capture the essence of the moment and paint that onto carved wood, which I like to call ‘my ground.’”

She speaks in minimalist fashion too. But it is quite obvious her emotions run high as expressed by her paintings. Because she knows that, as an abstract artist, being able to express through her love of color is more than enough.

“Enamored” runs until Nov. 9 in E Gallery, 2/F, Shops at Serendra, Bonifacio Global City, Taguig.

The agony and ecstasy of Tomas Concepcion

By Dexter R. Matilla
Inquirer
First Posted 01:23am (Mla time) 03/26/2007

MANILA, Philippines – On a frenzied January afternoon in 1969, Jan Palach was walking around Wenceslas Square in Prague with a single-minded task. Upon reaching the ramp of the National Museum, at around 4 p.m., he poured gasoline all over his body and set himself on fire.

Somewhere, Tomas Concepcion learned of the brave 20-year-old philosophy student’s dreadful call for action to his fellow Czechs whose country had been invaded a year earlier by the Soviets.

It made such an impact on Concepcion that he held a protest exhibit at Galleria Baesa Nuoi in Rome dedicated to Palach.

“That was my first encounter with art and protest… and social and political problems,” said Concepcion. “And it never left me. I don’t know why, but this is like an obsession. I’m against the violence of man against man. God did not make the world that way.”

Roughly three years later, Concepcion became part of the Movement for Free Philippines, in which he was chair for Southern Europe.

“It was a very visible movement in Europe,” Concepcion said. “Nobody organized marches and protests like I did.”

At the same time, Concepcion started the Filipino Democratic Workers’ Union as the number of Filipinos working in Italy had risen. He financed the movement as well as his political activities by doing art shows in the US, one of which was graced by Jackie Onassis.

As a 17-year-old, Concepcion, whose mother was of Muslim royalty, went to the US where he studied at San Francisco State College, majoring in Painting and Theater Design.

He moved to New England and worked as a set designer for Warwick Theaters. From there, he set off for Canada, studying at the Ecole des Beaux Arts.

He traveled to Europe to visit museums, spending some time in Paris where he tried to look for a studio but was unsuccessful. He would eventually find his place in Rome.

His first studio was at Palacio Savelli, where the Inquisition used to hold office, and a walking distance from Piazza Navona of the Four Rivers fountains by Gianlorenzo Bernini.

It was at the Eternal City where, as a portrait painter, he got commissions to paint Prince Steno Borghese, Duchess Nicoletta de Serracapriola, soprano Leontyne Price, conductor Thomas Shippers, banker Baron Leon Lambert, and film actors Silvano Mangano and Marcello Mastroianni.

He has completed paintings and sculptures famous the world over. Concepcion enjoys the distinction of being the only Filipino to have done the sculptures of two Popes: Paul VI, which is found at the Vatican University; and John Paul II, commissioned by the Vatican as a gift to Guam.

Concepcion is also proud of the Ninoy Aquino statue he made for the People’s Park at Edsa.

“I had it sent to Manila in time for the first anniversary of Ninoy,” Concepcion said. “I love Ninoy—but who doesn’t?”

Mean representative

Concepcion’s firm resolve to uphold human rights led him to politics, in which he was a very resolute and straight-talking member of the House of Representatives in the 9th Congress. He was a representative of overseas Filipino workers.

“I was a mean representative,” recalled Concepcion.

With his days in politics behind him, Concepcion remains outspoken in discussing his views about the current Philippine situation. The same can be said about the pieces for his “Homage to Michaelangelo” exhibit that opens at Galleria Duemila on March 31.

The large-scale paintings, lithographs and sculptures are sure to evoke emotion, in the tradition of the protean body of work of the great Renaissance artist.

“Art is not about putting people to sleep,” Concepcion said. “It should make them think, make them feel, excite them, disgust them, move them. Art should be provocative.”

Concepcion feels very honored to be sponsored by the Italian Embassy, a first for a non-Italian. Concepcion explains that he intends to reintroduce the Renaissance to Filipino art lovers.

“Michaelangelo was so modern,” he said. “Before Michaelangelo, all the figures were stiff. With his passion for humanity, glorifying God’s creation, he twisted the bodies, made the sculptures look alive. So I have fallen in love with Michaelangelo. He’s a fascinating and tormented artist.”

His lithographs, “Love Signs,” are something to look forward to as they interpret the zodiac signs in a sexual manner.

While the 70something Concepcion continues to make up for lost time with his art, he is also working on his biography, which, according to him, will start with his first sexual experience and end with his stint in politics.

“I’m enjoying writing,” Concepcion said. “It will be two books. The other one will focus on my life in Rome because that part is so rich.”

E-mail the author at dxmatilla@yahoo.com

New day for Philippine art

By Dexter R. Matilla
Philippine Daily Inquirer
First Posted 00:51:00 09/15/2008

MANILA, Philippines - In a time when the demand for Asian art has significantly increased, 22 distinguished art galleries have come together and create what should be the newest movement to push Philippine art right to the forefront.

Bago, or Bonafide Art Galleries Organization, is composed of 1/of Gallery; ArtAsia; Art Circle; Art Exchange; Art Verite; Blanc Art Gallery; Choice Expressions; Crucible Gallery; E Galerie; Galerie Astra; Galerie Francesca; Galerie Joaquin; Galerie Stephanie; Galerie Y; Gallery BiG; Gallery Nine; Gallery Genesis; Kulay-Diwa; My Little Art Place; Renaissance Art Gallery; Ricco Renzo Galleries and Village Art Gallery.

Avant Garde Greetings CEO and Galerie E owner Jonathan Sy says that Bago’s goal is to promote Philippine visual arts as a unified and coherent body and “somewhere down the road, professionalize the players in what is sometimes regarded as an ungoverned industry.”

Sy is concerned about the rising incidence of fake artworks (some of them “certified authentic”) and the devaluation of art due to some artists willing to sell their works way below the market price.

Sy was quick to add, however, that Bago isn’t looking to radically change the way the business of art is today. He says the organization’s immediate goal is to give new artists a chance to showcase their works.

Putting up shows, he says, requires money, and unless an artist is an established one, galleries would be wary of spending for an exhibit.

Bago’s first project is the 1st Philippine Annual “State of Art” Group Exhibition on
Sept. 18-28 at the Art Center of SM Megamall Bldg. A in Mandaluyong City.
Some 50 artworks from emerging artists who have never exhibited solo before, priced at P20,000 up, will be on display.

Bago will also organize art competitions and publish a gallery guide book.
“We found a need to act as a group,” says Sy. “What we’re doing right now is take it one step at a time by promoting new artists firsts. But we want to make sure that all the projects of Bago are successful by raising awareness of the organization’s presence.”

E-mail the author at dxmatilla@yahoo.com

Joey Velasco’s ‘Manunubos’ canvases: so real, they bleed

By Dexter R. Matilla
Philippine Daily Inquirer
First Posted 12:34:00 09/24/2008

THERE’S AN ONGOING JOKE between painter Joey Velasco and his colleagues: His works have become so real that if the canvas were to be cut by a blade, it would bleed.

Velasco considers the joke a compliment. He admits he has a bleeding heart for the downtrodden. Social injustice inspires him to produce pieces that give hope and uplift the spirit.

It all began when, at 38, he went under the knife to have a large mass removed from his kidney. Despite the operation’s success, the artist still went into a depression which, he says, “can be likened to being trapped in a dark, lonely, deep well.”

“I totally withdrew from the world, from my work and social life,” he relates. “I avoided any contact with my friends and even my family, locking myself in one room as a total recluse. I knew what loneliness meant. I prayed for God to throw me a rope and I claimed I was ready to grab one, even if laced with broken glass just for me to see the light once again.”

His source of light came in the form of a paintbrush. He immediately utilized his newfound weapon against the darkness by painting Hapag (Meal Table), in 2005, depicting Jesus Christ breaking bread with 12 poor children from the slums of Manila, much like the Last Supper.

This he did by going around the Metro — looking in cemeteries, under bridges and depressed areas in Payatas — until he found his 12 little “apostles.” He says he did the painting to remind his four children to count their blessings, especially when they eat.

New exhibit

This “socio-spiritual realist” artist continues to apply the light-and-shadow technique to his works. Chiaroscuro has become his signature.

“I view my obras as ‘real,’ not because of the technique but because of the reality happening in our society,” he says.

“There is a subtle play of the darkest dark and the brightest bright. I guide myself with questions like ‘Where is the light coming from?’ ‘Is it a warm light or a cool light?’ It is in identifying the light source that the figures are illuminated and the artist achieves ‘realism.’”

This is how Velasco describes Paleta de Sangre, (Palette of Blood) one of 13 new works just unveiled at the Ayala Mall Lower Level, Glorietta 3, Makati City.

Manunubos (Savior) is the name of the exhibit and the works—as well as the stories behind them—should once again draw admiration from both art patrons and just about anybody whose heart finds respite in the love of the Almighty.

For “Maria, Ina ng Banal na Puso ni Hesus, (Mary, Mother of Jesus’ Sacred Heart) Velasco used a female caddie in one of the golf courses in Manila as model for Mary.

“The congregation that commissioned the painting chose her because of her Filipina features and tanned skin,” Velasco reveals. “She carries the heavy bag of the golfer and walks long miles every day through all the 18 holes. Rain or shine she has to stand by her player, a slave in the fairway.

“She symbolizes Mary’s obedience. ‘May it be done to me according to your word.’ It is also Mary’s invitation for me to thread not only the mountainous path of Nazareth or the undulating fairways, but also the journey of constant ‘yeses’ as I submit to the Father’s will.”

Receiving the Host

An experience during Sunday Mass was the inspiration for Hele (Lullaby). Velasco saw three young men with Down’s syndrome stand up from different pews and fall in line to receive the Eucharist. More than the visual interest, Velasco closed his eyes and at that moment wanted to enter their world.

“With the distinct line across their palm, they receive the Host,” Velasco says. “They have small hands and short fingers but their touch can move the immovable and thaw the coldest of hearts. I noticed they had different shades of almond eyes that could cross and had clogged tear ducts. Those beautiful eyes only seek the goodness in people. They are not cynical or judgmental. When they love, it is unconditional. When I entered their little world, I was definitely in communion, because I saw Jesus dwelling in them.”

When he finished Hapag, Velasco was once again hospitalized for six months. But this time, he had the experience with the children and the memory of the unique journey in art to strengthen him. So instead of succumbing to depression, he wrote a book with an IV needle inserted into his veins. From there, he went on to produce three film documentaries.

“Painting, writing, filmmaking, things I never did or planned to do in my life,” Velasco says. “Everything happened in the past years or so… when I was at my weakest point.”

Velasco admits he still asks himself what inspires him, what gives him direction despite doubts, and what gives him strength. Like a mantra, he asks these questions before the break of dawn, as he prepares for another day of work in his studio.

E-mail the author at dxmatilla@yahoo.com