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Masterly Touch
Renowned artist Eduardo Castrillo reached the heights of success—by staying true to his heritage by DONNA MANIO photographs by Jose Bernabe Magbanua
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duardo Castrillo’s workshop, located on the outskirts of Manila, houses many new works that will soon join the ranks of his well-known pieces: “The Martyrdom of Dr. Jose P. Rizal,” in Rizal Park, shows one man’s sacrifice for the country; “Bantayog ng mga Bayani” is a massive work of art that commemorates people power and freedom; “The Green Archer,” whose home is the De La Salle University in Manila, gives students and faculty members a clear sense of identity while embodying faith, service, and communion; and “The
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Redemption,” situated in Loyola Memorial Park communicates the message of hope on a massive scale. The sculptor has just recently completed a seven-foottall sculpture in Nuvali. He has also busied himself working on his exhibit pieces, which will be on view at Gallerie Joaquin this November. The artist, still witty and youthful, welcomes guests in a courtly manner. He is dressed in a tailored polo shirt and white pants. An earring in his left ear—his own design and creation—is a clue that this man, revered in the world of art, is irreverent when it comes to the limits of expression. For Castrillo, there are no limits. Over cups of coffee, he offers a glimpse of his
personal impulse to create. “I feel restless when I don’t create. My mind is a wellspring of ideas, so I am always prompted to make things. When I have an idea, I distill it in my mind. An artist may think of a brilliant idea, but lack the know-how when it comes to executing it. In my case, when I have an idea, form, or design, I know how to fabricate it in any given material, be it glass or metal. This is all because of what I have learned 30 years ago when I was starting out.” In his early years as an artist, Castrillo learned the fine but demanding art of making jewelry and sculpture. With a thirst for creation and exploration, the young Castrillo found himself trying out several forms of expression. “I started out as a comic book illustrator and also worked as an ad man. I was also part of bands back in the day—I did everything. I was very street smart—I was even a working student. My father was a jeweler and I had a chance to work with him. That was the beginning of learning for me.” Working with his father gave him the skill and technical acumen to manipulate any medium. Through his love for the arts and willingness to be immersed in grit, he has acquire the mastery he is known for today. His many artistic pursuits honed the artist, and even sharpened his humor. He is generous with anecdotes, proof that he has emerged polished and refined after several “tests.” “I remember this time when I attended an event and I was wearing a belt I designed and made myself. One of the guests, a collector of mine, said, ‘Hubarin mo yan. That’s mine now.’” Ed Castrillo, while now primarily recognized as a sculptor and monument maker, is also highly favored by the likes of Jackie Onasis-Kennedy and Sophia Loren for his jewelry. He is wearing a few of his pieces during the interview. He is also wearing a ring, which, though small in comparison to the works people are familiar with, is also a work of art. It is hard to look away from his hand as he raises the coffee mug to drink. Castrillo’s work engages the viewer and one can’t help but look. The works of master sculptor Eduardo Castrillo are part of Philippine life—sculpted and welded into the hustle and bustle of Manila and practically any place in the country, whether the Filipino people like it or not. Colossal, but never quite imposing, Castrillo’s sculptures and monuments tell of pivotal moments in the nation’s history. With the artist’s vision and mastery of art, movement is captured and immortalized. Paul Weiss, a well known professor of philosophy from the Catholic University of America, once remarked that Castrillo “successfully united sculpture and craftsmanship with a gain to each.” Many of the sculptor’s works are also on view all over the world, in Hong Kong, the United States, and Australia, to name a few places. These pieces are also thick with narrative. His work here and abroad has earned him front-page exposure in publications such as The Washington Post and The New York Times, clearly testifying to Filipino ingenuity and talent. While there may be artists who maintain active social lives after attaining much success, Castrillo prefers hermitage. In fact, he prizes it. “I usually just stay in my workshop and in my leisure time, I do light things, such as read good books, spend time with my grandkids.” At this point, two of Castrillo’s grandchildren, a young boy and girl, shyly approach their grandfather to kiss him goodbye. It is a weekend, and they are set to take a fun trip with their parents. Castrillo, the master of taming metal, shows a soft and nurturing side when with them. He kisses each of his grandkids on their foreheads and watches as they wave goodbye. Castrillo’s awareness of how the times have changed does not, in any way, diminish how he places importance on values permeating his work. The
lightheartedness in the room shifts to austerity. “It was Martial Law, and I always thought, how could I leave the country without feeling irresponsible? Being an artist, while it is a joy in itself, is a huge responsibility. Part of that responsibility is being a citizen and contributing to your country in any way you can. You have to play a role the best way you can.” The sculptor puts down his coffee mug. Castrillo the artist is also Castrillo the nationalist. “It is very difficult to encourage other people to use their talents for any selected cause. It has to come to them naturally. After having the courage to create as an artist, one must also have the courage to be a contributor to their race. It’s a real calling, a vocation.” In the artist’s case, he has dedicated much of his talent to making Filipinos learn more about heritage. It is also no secret that despite being deeply rooted in Filipino culture, Castrillo is greatly respected globally as well. This is proof that real talent, mastery, and ingenuity manage to break barriers.
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