Kontempo Magazine 2003

Lifted from Kontempo Magazine 2003
Pasintabi lang po
Rebyu ni Leslie de Chavez

May dalawang taon ding isinantabi ni Amiel Roldan ang paggawa ng sining matapos ang kanyang huling eksibit sa Hiraya Gallery noong taong 2000. Ito ang eksibit kung saan inilunsad ang mga karakter na si 'Pipay' at ang 'Huling Hari.'

Puno ng mga misteryosong karakter ang muling pagtatanghal ni Amiel na Kaliwa: Pipay, Rubbercut, 2000 Kanan: Cornerstone, Rubbercut, 2003 pinamagatang 'Pasintabi' sa Black Gallery ng Kulay Diwa. Binubuo ng 26 rubbercut prints ang eksibit na naituturing na muli niyang pagbabalik sa sining. Makikita dito na mas partikular siya sa pagbuo ng mga karakter na hindi direktang nagpapahiwatig ng kanilang katauhan.

Kasama ng mga tauhan sa bawat piyesa ang mga imahe tulad ng loop, mga bituin, hagdanan, ulap at pakpak. Mga imahe na karaniwang ginagamit ng mga Surrealists sa kanilang sining. Hindi na bago ang paggamit ni Amiel sa mga ito sa kanyang mga prints. At sa eksibit na ito, mapapansin na naging madalas ang pag-uulit ng mga nasabing suportang imahe. Dahil dito, maaring maging pare-pareho ang pakahulugan sa magkakaibang piyesa.

Kinakitaan din ang eksibit ng kakulangan sa panahon ng preparasyon dahil sa di masyadong maayos na mounting ng bawat piyesa. Nguni't mababanaag din naman ang pagtatangka na magpakita ng kakaibang eskema ng presentasyon sa mga piyesang gaya ng 'Forgotten', 'Flight', 'The Bounty', 'Final Pass', 'A Tribute' at 'Cornerstone' . Magkakapatid na piyesa na marahil ay nabuo sa loob ng iisang panahon lamang. Mas buo ang mga karakter niya rito at may mangilan-ngilang bagong elemento gaya ng ulo ng baboy, aso at dahon. Ang natitira naman ay halos halfbody portraits lamang. Nguni't sa kabila ng mga pagtatangka ay walang bagong pamamaran o teknik sa printmaking na ipinakita sa eksibit na ito.

Sa kabuuan, mararamdaman ang pagnanais ng eksibit na ito na makapaglarawan ng mga bagong karakter sa kumbensyunal na pamamaraan. Ang eksibit na marahil ay 'Pasintabi' niya sa mga taong kanyang nakadaupang palad sa loob ng mga panahong tumigil siya sa paggawa ng sining.



TAMBAYANG MAKILING
by Amiel Gerald A. Roldan

Opening of Tambayang Makiling: a venue for various art disciplines Tambayang Makiling is a two-storey structure with a patio for outdoor sculpture. It has a ground floor viewing window which, during the opening, featured a display of handmade masks.

From the entrance, there are wide walls on both sides leading to a closed-off kitchen. Enough space for a major exhibit for visual artists or a suitable performance venue for dancers.

Stairs lead to a portioned off room ? a smaller exhibiting space intended for drawings. The initial offering included smaller works by other Makiling painters and visual artists led by Don Salubayba. Two rooms on the second floor is another major exhibit space. Here were mounted bigger works of Alwin Reamillo, Pablo Biglangawa Jr., Dindo Llana, Jon Red, Ian Victoriano, Marc Cosico, Juanito Torres, Kiko Feleo, Carlito Seneres, Phillip Alpajora and Jun Ureta. The space has an accommodating ceiling ? the largest work on the wall was a 53 in. x 77 in. work by Juanito Torres. A table and chairs on the far side are available for consultations and other formal discussions.

According to Biglang-awa, who, with Victoriano and Jon Red, leads, albeit informally, the visual arts committee of Tambayan Makiling, the space was created for functions of PHSA alumni and their immediate family. Being mostly former painters (before delving into film and video), they made more practical plans for the walls and over-all structure of the place-- creating spaces which can be used for exhibitions and performances as well as work areas. The ambiance was created through months of refining and physical improvement. Future improvements planned include signage, lighting and a more definite patio.

Like Biglang-awa, Jon Red and Victoriano are planning solo shows in more prominent spaces and galleries. These plans, they say, would make for a stronger practice in their respective art careers. TM could also serve as a studio and residence for practicing artists.

Most of the leading members are in their late thirties and are quite settled in family and financial matters. The thrust of their arts programs is more for personal and creative satisfaction. The venue also keeps most of the PHSA alumni in touch.

For the younger alumni, the place offers more opportunities to exhibit their works.

One hopes that TM would be an equally viable place for all artist groups or individuals be they older or younger, PHSA alumni or not.

It is still quite early to predict TM's success. TM’s concept is loose but seems workable. It offers a novel, albeit unpredictable, approach.

Amiel Gerald A. Roldan™

Mandaluyong City, Philippines

*** visit me at

www.amiel-roldan.tk

www.amielroldan.tk

www.amielaceremoroldan.tk

at my blogs:

www.amielroldan.wordpress.com

www.amielroldan.blogspot.com

www.fineartamerica.com/profiles/a-g-roldan.html

www.myspace.com/amiel_roldan

www.amiel_roldan.multiply.com

www.face-pic.com/amiel_roldan

please comment and tag if you like my compilations.

amiel_roldan@yahoo.com

amiel.roldan@gmail.com

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The Long Watch - Baboy Damo by Roberto Feleo
by Amiel Gerald A. Roldan



I felt a bit sad on the evening of March 29 because another good month was ending. What have we accomplished so far? The war in Iraq and the plague known as SARS seem to occupy everybody's minds. But above all other issues during these times of crisis, survival seems to be the most important.

An exhibit by one of the better artists of the Philippines in a month of uncertainties is what our national art scene needs -- a show characterized by vision and the pursuit of newer challenges.

This was offered by Roberto 'Bob' Feleo, UP Fine Arts professor and a renowned artist, as he marked another milestone in Philippine sculpture with 'Unanan' at the Drawing Room, located at Metrostar Bldg., 1007 Metropolitan Ave., Makati City.

In this collection of urns, Bob Feleo displayed his characteristic virtuosity in the use of materials ? this time, it was powdered eggshells. Bakunawa ng Gabi by Roberto Feleo The numerous pieces were boat-like. They were designed with the 'pinalakpak' technique favored by Bob Feleo in his previous works. The pieces 'Baboy Damo' and 'Kabibe' were inspired simply because they weren't overly decorated. Pieces that parody familiar shapes and textures illustrate the act of hiding and is closer to the premise of burying. The urns are pieces to regale and remember and not to forget kindred ones. Time and time again these containers for
bones or ashes hold prominent places in homes, temples and altars. Realizing also that these few works could be museum pieces, I'm not sure they should be massproduced. (Please don't cross the boundary of commercialism.) Undebatable is that this artist marks the chapter in our lives with an 'irresistible piece' to ponder about -- death as a journey.

After his retrospective in 1999, the artist has been reclusive about his works. We could say that this series marks a new beginning. Or is it the culmination of the remarkable 1994 Tau-tao series?

The audience at The Drawing Room was a mixture of academe and Feleo supporters. I felt at times irreverent in thinking that most of the senior guests were probably eyeing their own special urns and planning their journeys. (As for me, the thought is farthest from my mind. Yet, what could I do? Blame it on this good collection of urns turned art. I suddenly felt the urge to shop ? for a coffin?

The word 'Unanan', though, was a puzzle to me. I found it appropriate at first since the rootword is 'unan'. But as an invented word (which it could have been), I found it misleading.

It might have been coined from 'Inunan' which I associate with giving birth, not death. But this is still deceptive. It is the placenta that feeds the fetus during much of its term. In certain tribes, it is buried to mark an auspicious life and to mislead any predators of the newborn. In animal life, it is a source of nutrition and is usually eaten again to conceal it.

Roberto Feleo used the term 'Unanan' but should have used either the Bisaya or Kapampangan words 'Inunwan' or 'Ulonan' if he meant pillow or a head resting-place.

Nevertheless, the well-crafted pieces make an impressive show, with a good exhibit design, though I found it a bit maudlin with the candles and bottles of gin.

During periods of upheaval come greater thrusts for artists to strive for. In this wartorn month of March 2003, Unanan provides interest and hope.

Amiel Gerald A. Roldan™

Mandaluyong City, Philippines

*** visit me at

www.amiel-roldan.tk

www.amielroldan.tk

www.amielaceremoroldan.tk

at my blogs:

www.amielroldan.wordpress.com

www.amielroldan.blogspot.com

www.fineartamerica.com/profiles/a-g-roldan.html

www.myspace.com/amiel_roldan

www.amiel_roldan.multiply.com

www.face-pic.com/amiel_roldan

please comment and tag if you like my compilations.

amiel_roldan@yahoo.com

amiel.roldan@gmail.com

************