Filipino artists Magazine ONENESS in the PLAY OF COLOR, LIGHT, and FORM Angelito Antonio and Norma

ISSN 2507-9468

Here I Come To Save The Day Ingrid Aimee: The Life of an Average

How to add texture to Watercolor: A demo By: Artists Network Staff

6 ways to improve reflection drawings by: Catherine Hillis

Vol. 4 issue No. 22 P250

ARTISTS FILIPINO

MAGAZINE

Arts Culture Living

Painting returned 87 years after Nazis stole it from a Jewish family in Berlin

ONENESS in the PLAY OF COLOR, LIGHT, and FORM

filipino artists magazine / issue 22 / April 2020

9

Monnar Baldemor’s Evasion and Escape

by Arnel Mirasol

Here I Come To Save The Day Ingrid Aimee: The Life of an Average

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5 2 Filipino Artists Magazine

26

How to add texture to Watercolor: A demo By: Artists Network Staff

Quarantheme Kambal Gallery is at Piazza – Veranda of One Serendra, BGC

6 ways to improve reflection drawings by: Catherine Hillis

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Cover Story By: Vanessa J. Tan Gana

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Museum and Gallery of Modern and Contemporary Art

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Feu Tamworld Online Art Exhibition

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Painting returned 87 years after Nazis stole it from a Jewish family in Berlin

AR T I S T S

Down-to-Earth Reflections in the Art of JO FLORENDO:

FILIPINO

MAGAZINE

Art, Culture and Lifestyle

Ruth Chua Editor in Chief

Filarts Inc. Publisher

Roy Espinosa Creative Director

Vanessa J. Tan Gana Ingrid Aimee Mark Shellshear Arnaldo Mirasol Writer/Contributor

Editorial and Satellite Business Office: Blk 4 Lot 13 Gemini St. Cruzville Subd. Quezon City 1124 Email: filartspublishing@gmail.com / filartsincorporated@gmail.com

Filipino Artists Magazine 3

FROM THE EDITOR

As the year draws to a close, let me ponder on the things that happened - nothing much to do, actually, for a great part of the year. For a time being, work and life stood still. Everything suddenly came to a halt. The covid 19 pandemic became the center of everyone's attention; all other things took a back seat. People holed up in their homes and waited and waited...

Realizing that the pandemic would not simply go away in an instant, people slowly went back to "reality" and resumed their lives, albeit no longer the way it used to be.

Digital platforms became the new norm. Everything is done online, because face to face interactions are discouraged. This greatly affected a large number of industries, suffering major losses in income and patronage.

The art industry is no exception. Refusing to be restrained by the limits imposed by the quarantine restrictions, art shows and exhibits were brought online. The art scene is slowly bouncing back, with several art exhibitions being mounted on art galleries for patrons to personally appreciate.

As we wait for the covid 19 pandemic to subside and adapt to the new normal way of living, FILARTS will continue to support artists through its magazines and the soon to be released asian coffee table book. I will have to leave it for the next issue of the Filipino Artists Magazine and the South East Asian Artists Magazine to discuss.

Ruth Chua Editor in Chief

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Here I Come To Save The Day Ingrid Aimee: The Life of an Average I spent a large part of my childhood waiting for my super powers to manifest. I knew I was supposed to have them, and I was more than annoyed it was taking so long for them to appear. I couldn't fly. I wasn't unusually strong and a few times I would stare at a pencil and "will" it to roll toward me, just to check if my power might be telekinesis. It wasn't.

What if I have the ability to time-travel? Imagine having the ability to see what your place looked like 100, 200, 400 or 1,000 years ago. Or imagine being able to see, in real life, famous events that you were always curious about like the sinking of the Titanic or visit Anne Frank's house that was her hiding place during World War II or have the perfect view of a prehistoric gathering of dinosaurs.

What if I have the ability to fly? It would be fun obviously.You could fly over the street and never have to wait for the green light. Flying saves on gas money, and you can always make a great entrance.

Invisibility would be fun. No one can see you. You're there, but not there. It would make you the best hideand-seek player of all time. It would be useful because it would allow you to get into places that you couldn't otherwise have access to like the White House or Pentagon.

How about the ability to heal people? The ability to heal others with just a simple touch. This obviously would be misconstrued by religious fanatics as the second coming but it won't be. It will go like for each person I heal, I will develop a disease and die a little bit faster each time.

Every superhero has a weakness. Daredevil has hearing, touch, smell and taste but these can be used against him, just as my ability would be used against me.

Of course, when I really think about it, would these powers really do me any good? I feel like flying would involve a lot more effort and swallowed bugs than riding the bus.

Superpowers are great until your friends find out and you're the first person anyone calls when they need something.

So no, I'd rather not have one of the standard superpowers.

Besides, as any fan of superheroes knows, "With great power comes great responsibility." I am quite content to minimize my responsibilities. It's probably better that way. Knowing me, if I had a regular crime-fighting gig, I'd generally be eight feet into the air before I remembered that I should change into my costume. And that assumes I could actually make a costume in the first place. I think I'll be just fine with my perfectly simple, utterly uninteresting power.

Synesthesia Watercolor on canvas 12in x16in Giddy 2013

Filipino Artists Magazine 5

OPTIMISTIC

EXPRESSIONIST ANTONIO PACHECO DALEON III: An art collector said, “Tony Daleon is an artist who wields his brush as effortlessly as the great Conductors of Philharmonic Orchestras. His grasp of color combinations is a joy to watch. A meaningful and wonderful foray into the whimsical World of Art.” Antonio Pacheco Daleon III was born in Lucena City on April, 1971. Growing up, his artistic inclination was evident even as a young student. In 1988, while in UST with a study grant, His family moved to Rizal where he became a part of a community of artists there.

Since then his artworks were exhibited in different group shows, here and abroad. He had mounted 6 One-Man Art Exhibits. He was also a co-founder of Unang Letra Artist Group with fellow artists Adler Llagas and Angelito Florendo.

His works are seen in the pages of Manuel Duldulao's coffee table books; the Art Collectors Guide Book II (2005) and Philippine Art Now (2007). Also in other published materials like the art book “Collection of Ageless Arts” (2006) and Philippine Art Magazine International Edition (2007).

Tony Daleon is a Born-Again Christian and a Fundamental Baptist by religion, part of his education was from Baptist Bible Seminary and Institute. No wonder why, as a self-taught artist, his art philosophy is inspired by faith with positivity as its necessary element. As he shares his own joy through his artworks, his paintings have the tendency to be therapeutic on the part of the viewer. They bring about positive emotions with the intent to invoke happiness. Someone described his works as “Mood Art”, because they are expressed and organized as simplified reality and at the same time, grabs the energy, positive mood and unique modern perceptions of the artist.

Daleon says, "There is an integration of realistic and abstract elements in my works. I paint through an emotion of joy and optimism, deeply respecting nature, desiring to honor the Living God of the Holy Bible as the Greatest Artist, the Creator and Designer of the universe."

Interstellar Series 1 / 40in x 30inches Acrylic on canvas 2019

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He has done different subject interests through various artistic media and even now that his works has evolve into abstraction one thing has remained consistent, his Expression of Optimism.

Celebration Series 2 36in x 48in Acrylic on canvas 2019

Brilliance / 36in x 30in / Acrylic on canvas / 2020

Sparks of Joy 40in x 24in Acrylic on canvas 2020

Unwithered 36in x 24in Acrylic on canvas 2019

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Monnar Baldemor's

Evasion And Escape

By Arnel Mirasol

H

ow does a son escape the long shadow cast by a famous father? Monnar Baldemor does it by signing his paintings merely with his first name, and by creating works antipodal in both theme and technique to the paintings of his father Manny.

Since first stepping into the University of the East School of Music and Fine Arts in Caloocan, Monnar had tried his best to downplay his relationship to the famous painter Manny Baldemor. He said that the pressure on him to prove himself worthy of being called Manny's son was palpable. What Monnar dreaded most at that time was to be compared to Manny and be found wanting.

That's the reason why Monnar pursued cartooning and illustrations when he graduated from college in 1989 with a BFA degree major in Advertising. He shunned serious painting for several years, and worked as graphic artist and later on as art director for the magazine Woman Today. He also did comic strips on the side ( sample below) for newspapers and Glitter Magazine. He is working for sixteen years now as Design Director for Women's Journal Magazine.

But the call of the muse was insistent, and the son of the famous painter cannot ignore it for long.

Monnar did what another former cartoonist did. Like Malang, Monnar left cartooning and went full time into painting. But Monnar, unlike Malang and his father Manny, didn't adopt the cubist style originated by National Artist Vicente Manansala.

He marched to the beat of different drummers, so to speak.

And they are all foreigners. Monnar professed admiration for Hieronymus Bosch, Pablo Picasso, Salvador Dali, Friedensreich Hundertwasser, and Sergio Aragones : an admiration manifested all too clearly in the iconography and the powerful narrative content of his drawings and paintings (below).

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Monnar didn't explicitly mentioned Paul Klee among his favorites, but I discern traces of Klee's influence, inadvertent though it may be, in the way Monnar colors his works (below), and his fascination with lines. Paul Klee's famous quote about the dot being a line that went for a walk was probably Monnar's (who is an ardent proponent of dynamic linearism in art) guiding artistic principle too. We can perhaps also attribute this linearism and fondness for filling up his canvases with distorted figures to Monnar's past as a cartoonist. Monnar's early works are composite caricatures elevated to the status of fine paintings.

His painting Terminal Illusions (next page upper left) is a case in point. At first glance, this painting would induce viewers to conclude that it is but another surrealist painting that deals with metaphysics and dreams. But Monnar promptly disabused me of that notion. He explained that this painting is merely about the traffic problem in Metro Manila and elsewhere. He opined that no matter how many overpasses and fly-overs are constructed, the problem would still be there - unresolved and stressing out everyone all around.

Filipino Artists Magazine 9

“Terminal Illusions� / Pen & Ink / 18in x 24in / 2005

Even though Monnar's new works have traces of Manny's themes and technique, he won't be compared anymore to his father. That's because Monnar, early in his career, had already produced a body of works so packed with power and so replete with profundities that the painters he'll be compared to if he maintains his course are the artists who are stars of the international art firmament. And that could only mean one thing - Monnar Baldemor is beginning to cast a long shadow himself.

Monnar has mellowed now. He had eschewed social commentary in his recent works, excising from his graphic repertoire grotesqueries, like disembodied body parts and some such incongruities, that would make his paintings pregnant with meaning.

These new works (on the right) approach non-objective abstraction because of the reduction and simplification they have undergone. These abstract paintings, with their plethora of twisting lines, are the most Klee-esque among his works. They looked celebratory, and would perhaps indicate Monnar's coming to terms with things as they are and escape from a rather provocative artistic past.

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The Healing Power

ART.

of

by Ed Rompal

For a “living alone” senior citizen, It took a super typhoon (Yolanda/Haiyan) and a pandemic to realize life’s harsh realities. ECQ caught me by surprise.

Suddenly, our lives were brought to a halt. We were not allowed to go out ... like we were on house arrest.

With no one to talk to, days got extremely boring. As the days were off, inactivity was taking it’s toll. I fet so sluggish and hopeless. But I found a way to ward off depressions... did anything to keep myself busy to include oral reading to keep covid at bay.

Missed my early morning runs and biking so much.

Physical activities to counter those long hours spent doing art. To my dismay, I found a shortage of art materials, almost used up. Nowhere could you buy as shops were closed due to lock down.

Good thing I’m into mixed media with found objects, grass growing wildly outside, twigs and sand all sundries, The right solutions to the problem. Great for texturing on paintings. I found a perfect canvas with some old jeans and cut off denim shorts. Painted them with abstract designs. There is a lot of freedom and much fun with mixed media such creative juices overflowing.

Art making makes for a good escape from reality, you get lost in your own world. Sunflower came in big for inspiration. Long have I been fascinated with it since my grade school days. There was this small patch of land planted with it in our school campus. Its size, form and yes... color never fails to brighten my day.

And how! It figures on most of my painting and sketches.

THERE IS HOPE mixed media on stretched canvas 20in × 16in

Van Gogh’s sunflowers painting is one of my favorites.

He is one of my influences. It symbolize hope, light and life. Whatever I feel empty, i just listen to reggae music, acoustic, rock... pick up a pencil to do humorous sketches, or a brush to paint and life is never a bore. Instantly, transporting me to a world of my own.

Filipino Artists Magazine 11

Erzil

MORALES Erzil Morales is a career-driven woman who always puts family first. With a husband and two kids, you would think she wouldn't have time for anything else. You would be sorely mistaken. Because deep down, Erzil is an artist at heart.

She is a free-spirited artist who paints what she thinks and feels, rather than what she sees. She prefers colorful and calming colors, which makes sense since painting takes her to a different world far from the cacophony and stress of the real world. The majority of viewers of paintings describe her works as soulful and calming. A quick browsing of her works would make you see why.

She first started painting at a young age but studies and work came first, leading her to relegate painting as a casual hobby. At first, her passion only grew with time, and in 2016 decided to start putting thoughts to canvas again.

Taking classes with established artists, local and foreign, both personally and online, she slowly managed to find her personal style.

Soon she was joining art fairs and exhibits helping her connect with other artists and soon, opened up new doors for her and her art.

Though Erzil still works full-time, she paints every chance inspiration strikes.

Sometimes leaving bed in the middle of the night because of unexpected eureka moments. But with every kiss of creativity, there are still days of mental art blocks lasting weeks at a time. When this happens, you can see on her face the frustration of not being able to paint, which only shows how truly passionate she is about art.

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Prosperity / 24in x 36in / Acrylic on Canvas / 2019

She likes to play with hues of colors that reflect whatever mood she is trying to express. When not painting herself, she enjoys ruminating on the art of others, particularly the works of Barnett Newman, whose color combinations inspire her own.

Imagine a place where time stops as you are enveloped by serenity. That is what Erzil feels when painting, that is her comfort zone. She gets into a trance when inspiration comes knocking, what athletes call “The Zone” or “Flow,” where everything else gets blocked out and all she sees are thoughts in canvas.

This feeling is what spurs her on. Thus, she has no plans to stop painting anytime soon. It is her chosen medium to put her thoughts and feelings into something concrete, immortalized in canvas, to be shared to the world.

Upper right image Eternity 36in x 36in Acrylic on canvas 2020 2nd level image (left) Wildfire Acrylic on Canvas 24in x 30in 2nd level image (middle) Verdant Morning Light 18in x 24in Acrylic on canvas 2020 2nd level image (right) Smokestack 18in x 24in Acrylic on canvas 2020 Lower left image Fete Carnaval II Acrylic on Canvas 10in x 14in 2020 Lower Right image Sunshower 24in x 36in Acrylic on canvas 2020

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How to Add Texture to Watercolor: A Demo

BY ARTISTS NETWORK STAFF

Alex Hillkurtz plays with varying techniques to create texture and depth in his watercolor paintings.

By Alex Hillkurtz

After the Party (38 x 57 cm) by Alex Hillkurtz

In the feature “An American In Paris” in the September/October 2020 issue of Watercolor Artist, you’ll learn about Alex Hillkurtz, a watercolor painter and storyboard artist living in Paris, France and Los Angeles, California.

Step 2 Once the initial wash was dry, I began to add shadow details. Cool blues and lavenders contrast with the warm underpainting.

Here, Hillkurtz illustrates how to add texture to watercolor in a step-by-step demonstration of his painting process.

After the Party I love the work that Brenda Swenson does with her paintings of flowers, building colors in layers, and I thought I’d try this technique on my own subject. I have a bowl of wine corks gathered from many outings with friends, different celebrations, and casual dinners, and I wanted to translate those memories into paint.

This seemed the perfect subject in which to show how to add texture to watercolor. My process involves playing with varying techniques of wet-on-wet, dry brush, and using warm and cool colors.

Step 1 First, I brushed the paper with clean water in an uneven manner — some sections were soaked, others were left dry. With this initial wash of color, I played with warm and cool tones and varying textures. Colors are free to mix and blend on the page in wet-on-wet, unpredictable ways, but also scrape across the paper with dry brush.

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Step 3 Next, I used detail to show contrasting warm and cool colors as well as varying textures.

The Final Stage

Step 4 Because this subject can support all sorts of different textures, blooms of color and halo effects are encouraged.

To conclude, add final details with a sharp dagger brush for the text on the corks, as well as splatters with a toothbrush.

The Artist’s Toolkit Paper For paper, I primarily use Canson Heritage cold-pressed 300gm and Arches 300g cold-pressed. I love the texture these papers provide, as well as the water absorption that allows for various techniques.

Sketchbooks and handmade loose sheets from Moulin de Larroque and Ruscombe Paper Mill are also on my musthave list. These smaller paper mills here in France are carrying on an ancient tradition of paper-making. I enjoy experimenting with their different surfaces, depending on my mood and the subject I’m painting.

Paints Step 5 Shadows are built up in layers to create deeper colors, pushing elements into the background and bringing others forward.

I’ve been using Daniel Smith paints for a few years now.

Their pigmentation and granulating effects are a joy every time I paint.

Colors I can’t do without are Cobalt Blue, Ultramarine Blue, Cerulean Chromium, Burnt Sienna, Pyrrol Scarlet, Quinacradone Sienna, and Indian Red. I also love the creamy textures of Naples Yellow and Gamboge by Rembrandt.

Brushes Brushes are my addiction. I have too many to count, but the ones I find myself reaching for again and again like old friends are my Escoda Reserva 10 and Escoda Aquario 12. These are both natural fiber brushes with incredible paintings in them waiting to come out.

To see more of Alex Hillkurtz’s work, visit www.alexhillkurtzart.com.

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Amador “dodie�

INLAYO

Is a visual artist with more than 20 years of experience in the field. He is a graduate of Fine arts, Computer Science, computer technician and Industrial Electricity from Marikina Polytechnic Institute of Science and Technology. Despite his technical background he pursued a life of creativity through the aid of his chosen instrument- the paintbrush.

It is evident in Dodie's works that he has a special place in his heart for nature. His works boast of landscape showing his keen interest in minute details of his surroundings. This, in particular, is the reason why he is drawn to scenery defecting waterfalls and the rapidly flowing water in to a mist of sheer purity. Akin to freezing a picture in a frame. With thematic paintings such as landscape, seascape and even his still life works. One can expect to see earth tones as dominant in this nature lover's works, a faithful creation of God's creation.

Dodie believes that his technical background has helped him immensely in molding him into an exceptional visual artist. He goes through his art like a problem-solving activity except that his output is visual. He takes time experimenting with different kinds of painting techniques, enabling him to explore even more subjects as well. He gives credit to his amiable personality which has helped him to widen his network of coartist and clients whom he considers his friends. Within his circle, Dodie is able to pick up useful ideas and skill from other professional painters which he gladly integrates to his own style and workflow.

Throughout his career, Dodie has been competing in various art events and in 2016 alone, he garnered 5 awards within the 16 Filipino Artists Magazine

Daloy / Acrylic on Canvas / 24in x 24in /2018

year including a title Natatanging Pintor na Tagapagtaguyod ng Sining Biswal from the Bahay kubo Sining Foundation (BAKUSI) 1 st winner in the Rareworth How Much is your Artworks contest, winner in the artist convention On the spot painting Contest, third place in Let's Paint Plein Air Challenge, Ani ng Sining Grand Winner And winner in the province-wide Lalawigan ng Rizal Painting Competition. He also competed in the nationwide competition such as the annual GSIS Art Competition, LRT Art Competition and the Art Association of the Philippines (AAP) Art Competition.

Dodie is affiliated with the Rizal Artist Federation (RAF) based in the Arts capital of the Philippines, Angono in Rizal, and ARTIPOLO GROUP. And the nationwide Art Association of the Philippines. He has joined group exhibits held in various malls, including joined show with the Freedom Arts Society. Let's Paint, and Artipolo Group.

Falls in our City / Acrylic on Canvas 12in x 12in / 2019

Pangako ni Ama / Acrylic on Canvas / 30in x 48in / 2020

Talon sa Antipolo / Acrylic on Canvas / 18in x 24in / 2019

Mahiwagang Talon / Acrylic on Canvas / 24in x 36in / 2019

MECQ Social Distancing / Acrylic on Canvas / 30in x 24in / 2020

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Frederick "Eric” Madrigal Masangkay’s sculptural works transcend the boundary between figurative and abstract as he aims to portray the gamut of experiences defining the human condition. Varying from exultation to contemplative retrospection, he captures the nuances of movement and emotions particular to such plight and situation. He appropriates arrested motions that accentuate the sentiment he intends to project.

In his work “Kanlungan (Haven)", the half-torsoed figuration of a woman with head angled slightly downwards is seemingly in deep contemplation. Masangkay was able to embody the essence of harmony and peace by the incorporation of birds nesting on the figure amidst the foraged sanctuary Alluding to Mother Earth, his stylized depiction of flowing hair and ductile yet licquescent skin lent semblance to the cycle of birth, growth, and decay found in nature.

Kanlungan 22in x 12in x 12in Mixed Media 2020

Eric

MASANGKAY

South East Asian 20 Artists Magazine 18 Filipino Artists Magazine

The thematic aspect of his sculptures is wideranging as he draws inspiration from the mundane to the heroic, the ordinary to divine human act. "Tug of War" depicts the palpable tension between man and beast as the woman attempts to dominate and subdue the rearing horse the taut wire linking the horse and its master emphasized the struggle between the two forms. The movement of defiance on the part of the horse with its front legs thrusting upwards and the single-minded resoluteness of the woman valiantly pulling on the leash classify both acts as heroic. ” Aso ng Gubat” (forest Hounds)" tackles the subject in similar vein.

But instead of the woman it is the dogs that are locked in a struggle to subjugate the horse.

Tug of War / 18in x 16in x 15in Steel, Epoxy Wire copper Brass patina Stone 2020

His use of diverse materials is a distinct component of his oeuvre. He employs copper-brass forge with patination and welded iron and stainless steel to fabricate objects such as bicycle and bucket. But the main figure and forms are rendered using epoxy resin polymer. The malleability of the adhesive compound and the consistency of its surface texture make the material optimal in creating the exquisite figuration of bodies in motion.

The use of stone and wood as pedestal to the sculpture adds equilibrium to the overall architecture of his sculptures. This is very much apparent in his work “Chasing Clouds" as the interaction of materials and form illustrated the fluidity, balance, elegance and arrested motion usually exemplified in his compositions.

Masangkay has a Bachelor of Fine Arts In Painting degree from the University of the Philippines. He had solo art exhibitions in Ayala Museum, S.S.S. Gallery and Kape Kesada Art Gallery. He did collaborative works with fellow sculptures and has participated in many group art exhibits in the Philippines.

The War 16in x 22in x 12in Steel, Epoxy, Wire, copper Brass patina on Stainless Plate Wood

Balangay 22in x 18in x 8in Steel, Epoxy, Wire, Brass, Copper Wood patina on stainless plate wood

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QUARANTHEME Kambal Gallery is exhibiting at Piazza – Veranda of One Serendra, BGC from 1 October, 2020 to 6 January, 2021 and the theme is aptly titled Quarantheme which depicts the current mood and psyche of the people and community during the COVID-19 pandemic. Featured in this exhibit are some of the most renowned as well as promising young artists in the Philippines which include Elmar Badal, Richard Buxani, Salvador Ching, Kendall Colindon, Eugene Cubillo, Raeche Dacanay, Federico Elizalde, Roy Espinosa, Alfred Galvez, Ysa Gernale, Ed de Guzman, Wencyl Mallari, Anafe Nemenzo, Nereo Racela, Christian Lee Regis and Yel Cast. Here are the eclectic mix of styles produced by these artists during the pandemic.

First time to exhibit at Kambal Gallery, Elmar Badal's “Pure Love” series symbolize loyalty and purity of love. The heart shaped nests stand for love, unity, peace, harmony and equality. The branches symbolize the bridge of hope and the leaves represent life. The Maya birds signify the people who will do everything just to reach their desire for pure love.

Pure in Unity by Elmar Badal, 61 cm X 51 cm, Acrylic on canvas, 2020

Pure in Love by Elmar Badal, 61cm x 51 cm Acrylic on canvas, 2020

The Samurai figures of Buxani is from his warrior series. More pop culture than historical, they are anachronistic in general. The portrayals of power figures espouse courage and bravery, romanticizing acts of loyalty and idealism. The artist captures intent and movement in a fantastical, freestyle manner.

To Victory by Richard Buxani, (58.5cm h x 73.5 w x 30.5cm), brass on stainless steel, 2020

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To Victory by Richard Buxani, (58.5cm h x 73.5 w x 30.5cm), brass on stainless steel, 2020

Amidst this pandemic that brought the world to a halt, the earth started to heal- cleaner air, river and surroundings. The artist has brought to life such beauty of nature in this landscape series. Calm and surreal, the artworks exuded the artist's emotions and current state of mind. This is the message conveyed by the works of Roy Espinosa.

Two Big Trees by Roy Espinosa 58.5 cm x 69 cm,Acrylic on canvas, 2020

The Lone Tree by the River

by Roy Espinosa, 61cm x 46cm, Acrylic on canvas, 2020

The Lockdown series during the quarantine period is a depiction of the feeling of loneliness and solitude as reflected in Ed de Guzman's creations. Set against a typical dense community where the feeling of being alone is more pronounced because one is not allowed to interact with anybody, be it friends, neighbors or loved ones.

Lockdown 3 by Ed de Guzman 51 cm x 38 cm, acrylic on board (framed), 2020

One of the most distinct features of Anafe Nemenzo's works is that it focuses on people. At first look, it may appear to be an abstraction but as soon as you look closer, you will find myriads of people intricately and painstakingly painted and shows much of the artist's attention to details. Nemenzo depicts the life of the people, constantly moving and engaging in various activities. Her works encourage positivity in looking at life's everyday challenges especially during the current time.

When Autum Falls by Anafe Nemenzo 91.5 x 61 cm, acrylic on canvas, 2020

Wondrous World by Anafe Nemenzo 91.5 x 61 cm, acrylic on canvas, 2020

Expressions in movement, Raeche Dacanay paints as to where her colors lead her, with a fluid style that captures the essence of her subject through the motions it possesses. Diverse poses, raw and spontaneous that depict the fleeting nature of an expression, be it elemental or emotional. Despite the many challenges during the pandemic, life goes on.

Dacanay's works expresses positivity, artistry and creativity during this unprecedented trying time.

Lockdown 3 by Ed de Guzman 51 cm x 38 cm, acrylic on board (framed), 2020

His abstract paintings came into being when he started collecting photographs of Old Manila and nostalgic Philippine scenes. By then he created a series of Intramuros sights such as the gates, churches and way of life focusing entirely in promoting the well diverse culture of Filipinos.

Fuel of my Soul by Raeche Dacanay, 91.5 cm X 61 cm.,acrylic on canvas, 2020 Beyond Limits by Raeche Dacanay, 91.5 X 61 cm, acrylic on canvas, 2020

Jeepney 1 by Christian Lee Regis, 71cm X 47cm, acrylic on canvas, 2020 Jeepney 2 by Christian Lee Regis, 71cm X 47 cm, acrylic on canvas, 2020

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This series of works for “Unbound Cityscape” by Joemarie Sanclaria Chua explores the limitless imagination. Within the merging of vintage and modern such as old Philippine landmarks with contemporary approach, the artist would like to showcase the chaos of city life in a different light, exuding mystery and beauty for city dwellers especially the commuters who regularly witness the hustle and bustle of big city.

La Carlota Sunset

by Federico Elizalde, 61 cm x 61 cm, Acrylic Aluchrome, 2020

After the Rain in Binondo

by Joemarie Sanclaria Chua 61 cm x 91.5 cm, Acrylic on canvas, 2020

In the Quarantheme exhibit, Kendall Colindon did a two-women portraiture as his subject. He wants to imply the concept of two different persons with different personalities. It shows in his painting a symbol of their clothes in black & white. That's what he feels when he is at home during the pandemic when we are required to do quarantine at home. It's like we're a bird in a cage that wants to go free. The isolation causes an effect of depression and anxiety on him. He shows two different moods; good and bad. But learning people show good and bad side is normal that's why this diptych piece is aptly titled Symmetry which refers to a harmony, beautiful proportion and balance.

Calle Escolta

by Joemarie Sanclaria Chua 91.5 cm x 61 cm, Acrylic on canvas, 2020

Federico Elizalde works with a technique that he calls “Aluminuchrome” in which gilded aluminum leaf is covered in thin translucent layers of color paint to react to light, simulating the backlit illumination of a window, in order to stimulate the visual cortex of the brain.

Locomotive & banana trees by Federico Elizalde, 61 cm x 61 cm, acrylic aluchrome, 2020

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Symmetry by Kendall Colindon, 61 cm X 122 cm, acrylic on canvas, 2020

Ysa Gernale works feature and pay tribute to Filipina women who is also a reflection of herself and the many silent yet strong women around her. The emotions of the characters in her painting are somewhat hidden with their tightly closed lips and their little eyes staring at each other. The unfathomable thoughts and feelings are the ones giving the paintings its enigmatic feel; hence adding up to the aesthetic and philosophical values of the works.

The Lady 1 by Ysa Gernale, 31 cm X 31 cm Acrylic on Canvas, 2020

The Lady 1

by Ysa Gernale, 31 cm x 31 cm, Acrylic on Canvas, 2020

From conservative realism, Wencyl Mallari is now into a contemporary figurative painting using realism and symbolism. Her works dwell on the dual mystic of nature and femininity. She aims to feature women as strong, proud and elegant.

Dreams

by Wencyl Mallari, 61 cm X 61 cm, oil on canvas, 2019

Resilient

by Eugene Cubillo, 41cm X 30.5 cm, Oil on canvas, 2020

Aahon Tayo

by Eugene Cubillo, 41 cm X 30.5 cm, Oil on canvas, 2020

Salvador Ching's works showcase images of Filipinos in the past, emerging in the modern and digital technology. Old European master Joan Miro's influence is evident on Ching's works.

Seduction

by Wencyl Mallari, 61 cm X 61 cm, Oil on canvas, 2019

Eugene Cubillo's artwork is about keeping oneself safe in times of the pandemic and the ability to handle challenges in times of crisis and difficult situations. As a father and head of his family, he needs to be in control of the situation providing and sustaining his family. Always ready to do battle in life. Preparedness emphasizes the significant role played not only by the health sector but also the community in mitigating the effects of the pandemic. Being cautious and protecting oneself also protects your family. Through his works, he wants to impart that resiliency with the right frame of mind is vital in combatting the pandemic.

The Vault Keeper

by Salvador Ching, 51 cm x 36 cm, mixed media, 2020

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The Florist

by Salvador Ching, 51 cm x 36 cm, Mixed media, 2020

Alfred Galvez' Filipinoiserie captures a fictitious scene of old Manila with an impression of a European influence with frangipani in the foreground and a young T'boli woman dances by the lake with tropical foliage that can be found near Lake Sebu.

Tres Marias by Alfred Galvez, 61 cm x 61 cm, Acrylic on canvas, 2020

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Yel Cast as his artist name, is a contemporary artist with a novel way of reinterpreting words, poems, lyrics or quotes called “visual poetry.” He utilizes text as an art element and he integrates poetry into his art like an electrical waveform. He weaves words within his “oeuvres” to make a life statement and draw out positive emotions.

Dance by the Lake by Alfred Galvez, 76 cm X 105 cm, acrylic on canvas, 2020

With countries and borders closed due to the restrictions imposed by the COVID -19 pandemic, travels seem to be a nostalgic memory for now.

Trained as an architect, you will see Nereo Racela's subjects in his works leaning towards buildings and structures. Captured here are his memories of his travels to Japan depicting some of the most beautiful castles and temples in his sketches using Japanese ink and watercolor.

Odawara Spring, Odawara Castle 1

by Nereo Racela, ink and watercolor on arches paper, 2020

Kyoto Autumn, Kiyomizudera

by Nereo Racela, ink and watercolor on arches paper, 2020

Magkape Hanggang Gabi

by Yel Cast, 36 cm x 25 cm, pen and ink on acid free paper, 2020

Sumpang Pag-ibig na Hindi Magmamaliw

by Yel Cast, 36 cm X 25 cm, pen and ink on acid free paper, 2020

Artist: Roy Espinosa Title: Cascades Gleamed Medium: Oil Pastel on Canvas Size: 49cm x 39cm Year: 2020

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6 Ways to Improve Reflection Drawings

By Catherine Hillis

Jose A. Bernat Bacete/Getty Images

By Helen South Updated February 26, 2019 Reflections, whether in water, a window, or the surface of a shiny object, can be surprisingly easy to draw. Yet, we often think of them as difficult and make the work harder than it should be. There are some common pitfalls to be aware of when drawing reflections. The good news is that all of these are avoidable if you simply trust your eyes.

The Challenge of Reflections Too often, the problem of drawing reflections stems from thinking of the reflection as a discrete set of objects to be drawn. We try to make up rules about drawing things and use these shortcuts. So when we see something complex, we think about that thing, rather than the surface.

Suppose a building is reflected; suddenly we're thinking about perspective and angles. When a person is reflected, we're drawing people. What happens when there is a flare of light or a ripple across one of those reflections? These distortions that are natural elements of reflections get in our way and the shape we're trying to draw — the building or person — gets broken up.

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The key to drawing reflections with ease is to stop trying to look at each object in your drawing as a separate entity — a tree, a person, a river. Instead, think purely in terms of shapes and values.

While drawing, you are recreating your three-dimensional scene on a two-dimensional plane. A drawing is nothing more than a collection of light and dark areas. The more realism you strive for means more accuracy and details are needed in those lights and darks.

Observe the surface that you are drawing, and record the changes of light and dark across it. It's as simple as that.

Perspective in Reflections

Trying to force perspective effects that don't really exist is one of the main mistakes made by beginners.

For example, most reflections in water will simply go straight down with no convergence. This will change based on your point of view, but from eye-level, it's generally true.

Likewise, a shiny building will have one set of vanishing points and the reflection will have its own.

Quite often this is perpendicular to the building's, although it will vary depending on the plane of the window.

Cavan Images/Getty Images

Drawing a reflected scene such as in a shop window is another case of observing what is actually there. Don't try to construct the perspective according to imagined rules. Trust your eyes and record what you see, not what you think should be there.

If you're drawing from imagination, use a reference photograph of a scene with similar angles as a guide.

Distortion in Reflective Surfaces Almost every reflection distorts the reflected object.

This is very apparent in large windows or those that are slightly off-angle on very large buildings. The distortions may be slight, but they are there and artists tend to want to correct them.

Again, draw what you observe. It might seem odd at first, but in the completed drawing it will make sense and read as a distorting surface.

When shading a reflection, allow your marks to curve around or across the surface of the reflecting object as if it were flat-painted. This ensures that the surface makes sense. olaser/Getty Images

Reflections and Texture The texture is probably one of the most difficult things to tackle in a reflected surface. Shiny areas reflect the object accurately, while a satin texture creates a veil or pattern across it. You have various solutions depending on the texture.

One is to draw the reflection crisply, as though mirrored.

Then break the surface up with additional shading or erasing.

You can also use directly textured mark-making to draw the reflection. Pay attention to edges: are they fuzzy or crisp? A kneadable eraser is useful for lifting out

RyersonClark/Getty Images

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highlights with soft edges, while a sharp-edged white plastic eraser is good for fine, crisp lines.

When line sketching, handle reflections lightly. Use the illustrator's trick of a few diagonal or squiggly lines to suggest the surface of the glass. You've seen this multiple times in cartoons and comics.

Mirror, but Not a Mirror Image

Jose A. Bernat Bacete/Getty Images

Remember that a reflection isn't a mirror image from a printing plate. Instead, it is a view from a different angle.

This is important because the reflection will often see things that do not appear in the object itself.

In a landscape, for example, you will notice that the reflection reveals a little more of the underside of bridges or the shadow of overhanging plants. A tree reflected in water may have crisply visible branches, seen from underneath the obscuring foliage.

Also, look out for reflected light that brightens both the shadow and its reflection.

Water Is Flat When sketching reflections in water, remember that water is always a flat, horizontal surface.

At times, an angled line may be necessary to describe a ripple or reflection, but use horizontal shading to keep the surface flat.

Beware of carelessly curving your shading in large flat areas. You want to avoid creating a visual bump in the water that simply cannot exist.

Also, be aware of contact shadows. This is where an object contacts the water's surface and because there is no light reflected there, you will observe a dark line.

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photography is a play with light/Getty Images

Angelito Florendo / Morning Light / Acrylic on Canvas / 24in x 16in / 2020

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Karla

Sajona Maria Karla Muriel S. Sta.Cruz A former Visual Arts educator, Karla Sajona specializes on a variety of mediums like watercolor, gouache, acrylic paint and color pencils. Her keen fondness for nature through her intricate flora and fauna works has since become her vehicle in educating viewers about its significance to biodiversity.

Born and raised in Quezon City, her move to Los BaĂąos, Laguna in 2017 developed in her a deeper appreciation for nature and agriculture. As an artist specializing in flora and fauna, Karla chooses to highlight the life that emanates through these subjects, particularly indigenous and endemic species.

“These are things we often take for granted, but if we observe them closely, one cannot un-see the array of colors and iridescence they radiate.�

The works of artist Karla Sajona is a manifestation of her mindful and perceptive nature. Every stroke and every detail is delicately rendered to visualize the beautiful complexity of her flora and fauna paintings.

1. As a child, when did you start to learn the basics of art?

I think I was born into it. I have been exposed to the process of art since most of my relatives are painters and crafters. I grew up watching particularly my aunt paint with watercolors and tempera, as she used to make tourism posters for a hotel back in the 80s, or she'd make commission portraits with charcoal or hard pastels.

Aside from making art in school as a child and watching art demos on TV, I also attended a summer art class under ER Tagle and his group of artists in the early 90s. I was usually left alone to do my thing, so I got to discover certain techniques and materials on my own.

2. When & how did you realize that you love doing art?

As soon as I got a grip of a pencil and a bunch of scratch papers, more so when I had my first set of crayons and colored markers; I never stopped making art since then. My family and friends were Ang mga Coleto sa Puno ng Tibig Gouache on paper 18in x 12in 2020

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Rattan II (Urban Series) Mixed media on paper 12in x 12in

Makisig Acrylic on Canvas 70cm x 80cm 2020

the ones who made me realize the gift I have. Also, with the freedom I was given to experiment with different forms of art and mediums, I realized how creative I can be. That was when I realized I loved what I was doing.

3. What is your favorite subject & medium?

The types of subjects depend on the medium I use.

When I work with Watercolor, Gouache and Acrylic or Oil paint, I usually do landscapes or Flora and Fauna subjects. When my subjects are about people or still life, I prefer using charcoal, graphite or color pencils. If you may notice, I work with a range of subjects and mediums. I don't like limiting myself, as I believe that there are so many beautiful things that can be made into painting.

Ang Bagong Simula Acrylic on Canvas 36in x 48in 2019

Indigo Banded Kingfishers on Hoya Carnossa Vines Watercolor on paper 14.5cm 20.5cm

ONENESS in the PLAY OF COLOR, LIGHT, and FORM

by Vanessa J. Tan Gana

Angelito Antonio & Norma Belleza The trajectory of life and love converging to form a single destiny for two people is epitomized in the husband and wife visual artistry tandem of Angelito Antonio and Norma Belleza. Their artistic career spanned five decades of local and international acclaim and they continue to be entrenched within the current Philippine artscene.

Their story began as students of Fine Arts at the University of Santo Tomas in Manila. The exploration of the

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painting medium and passion for capturing the idyllic vision of the Filipino folk genre translated into a collaboration lasting a lifetime.

Through exultation and tumult of married life as well as the shared responsibility and joy of parenthood (they have three children who followed in their footsteps as visual artistsMarcel, Fatima, and Emil), Angelito Antonio and Norma Belleza established their helm s in the Philippine modern art movement.

Parallelism of path is apparent early in life. Both were born in the year 1939 on the eve of the the Second World War. Still too young to grasp the implications and repercussion of the devastating event which lasted until 1945, it was nevertheless subsumed in their psyche. They lived through gamuts of national events and have witnessed transition of political power held by the fifteen out of sixteen presidents of the Republic of the Philippines. Angelito hailed from Malolos, Bulacan and Norma, from San Fernando, Pampanga.

Both transitioned from a bucolic provincial purlieus to the busy, bustling,

Given the breadth of their experience and the depth of what they have gone through as a couple, what was striking was they were able to maintain a deep appreciation and respect as colleagues in the realm of art. They acquired confidence in the adroitness of their distinctive techniques and styles as individuals. Their personal identity emerged in the images they created respective of the theme and subject matter that interest each. As a couple, they solidified their reputation as a force to be reckoned with. Angelito and Norma have inspired each other and created a

Artist: Norma Belleza, Title : Fisherman’s Family Medium : Oil on Canvas, Size : 24in x 30in, Year : 2010

Angelito Antonio, Mother and Child, Oil on Canvas, 24in x 30in, 2011

boulevard of metropolitan Manila in their collegiate years. They both joined national art competitions in the early 1960s such as the University of Santo To m a s ' s 3 0 0 t h A n n i v e r s a r y A r t Competition, annual Shell National Student Art Competition, semi-annual Art Association of the Philippines Art Competition, and Traveller's Life Art Competition pitting their talent against each other and triumphant in bagging major awards at the same time. They were inseparable as spouses and immersed and nurtured their nucleic family's love for art all throughout.

prolific partnership through time whether travelling abroad or just being together creating art as they raise their family .

They had numbers of solo and group exhibitions in the past five decades. As a duo they were part of an art exhibition initiated by Liongoren Gallery eight years ago about seven Filipino artist couple actively practicing their craft together in the Philippines and abroad.

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Angelito Antonio's Ouvre Angelito Antonio is one of the remaining Filipino Modernist master painter of a bygone era. He has gone through multitude of historic and life experiences spanning eight decades. What makes him different from his peer is the longevity of his career. His versatility as a visual artist made it possible for him to continue to adapt to the changes in Philippine art trend. He still holds art exhibitions as well as wait-list for commission works.

He was a faculty member of the University of Santo Tomas, his Alma Mater. It was not surprising that he passed down the torch of Modernism in Philippine Art to his students as he had National Artists Vicente Manansala and Galo Ocampo as mentors. An epochal demarcation rooted in Modernist art practice was defined by his particular stylistic depictions together with colleagues Antonio Austria, Jaime De Guzman, Danilo Dalena, Mario Parial,

Angelito Antonio, PiĂąa, Oil on Canvas, 20in x 24in, 2011

National Artist Ang Kiukok, and Norma Belleza brandishing their own gestures and approach. This was reinforced as a member of the Art Association of the Philippines and Saturday Group art organizations.

Antonio was one of the first awardee of the prestigious Thirteen Artist Award from the Cultural Center of the Philippines which started in 1970 (triennially held at present). Although he was versed in the traditional technique of figuration and was initially drawn to social realism and expressionism, he chose to experiment with Cubism, the signature style of his mentor Manansala. He depicted his subjects of mother and child, cockfighters or 'sabungero' , and street peddlers in his characteristic angular color delineations (different from Manansala's transparent cubism) adapting folk genre. The fragmented visual language underling the Cubist vocabulary became the tool by which he transacted the polarized structure of abstraction and figuration. It was applied with precision to his chosen composition resulting in dynamic capture of movement and emotive nuances in the images on canvas.

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One such example is the “Mother and Child” (2011) painting. Here, planar, diagonal, segmentation separating the foreground from the background and emphasizing the solidity of the subjects was utilized.

There is the pronounced multiple viewpoint rendering of volume to the cradled child figure and the upperbody portion of the mother. But there is the noticeable flattening of volume to the point of paper thinness from the waist down. The mask-like depiction of the face is reminiscent of the African masks alluded to in works by the master cubist Pablo Picasso. The glaring tinge of yellow hues is downplayed with the use of reddish and flesh-colored tones at the center, and the dark rendition of shadows brought contrasting balance to the whole composition.

He reverberated back to his expressionist roots in his work “Pina” (2011). The image of the woman vendor selling pineapples has black lines delineating the form.

His chromatic use of textured surfaces in blue and green colors dominate the picture. But the introduction of pinks , yellow orange, red orange , and black strategically spread out around the canvas lent vibrancy to the otherwise flat rendition within the forms.

In recent years, he added new thematic substance to his illustrious repertoire. He chose to give life to common place and nonsensical objects (ensaymada bread, tombstone), and bequeath dignity to the ordinary and mundane existence of random people like the shoemaker and nun.

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Norma Belleza, Women Vendor, Oil on Canvas, 18in x 24in, 2011

Norma Belleza's Magnum Opus Norma Belleza is known as a master colorist in the Modern art tradition. She has gone through a numerous course of experiences in life as a woman, wife, mother, and painter. Like her husband Antonio, Norma continues to be versatile in the current art situation in the country. She is still active in art exhibitions and has patrons anticipating the release of her muchawaited artworks.

Being a product of an academic institution known for being the bulwark of Philippine Modern Art, Belleza 's ouvres of brightly colored, naive figuration with folk genre theme is widely acclaimed as a triumph in encapsulating the spirit of that era. She briefly dabbled in traditional figuration at the start of her artistic career in the 1960s winning national awards for her excellent apprehension of art competition themes. Sombre representation of religious subjects dominate her artworks. Several years later, she transitioned to what is to become the signature characteristic of her artworks which catapulted her into the limelight as one of the woman pioneer of modern art.

Her subjects ranges from people she encounters on the streets like the woman vendors probably situated near market hubs, potters, street sweepers, peddlers of wares. But instead of presenting the hardships implied by their social standing,

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Belleza was able to convey lightness of spirit, dignity, and even joy in the imagery she employed. One such example is her work “Women Vendors” (2011). The three rotund women are surrounded by the commodities they sell such as fish, peanuts, fruits,vegetables, and flowers. The vivid color of their clothing contrasts with the browness of their skin, their facial feature characteristic of the Malay race of which the Filipinos belong to. There is perspective distortion between the foreground and profusely decorated backgound, but this is part of the appeal of her paintings. Her naive figuration, use of intense coloration, and roughly textured application of paint saw her predisposition to highlighting the sense of folk in her art. Similarly, “The Fisherman's Family” (2010) also showcased the emblematic features of her opus. The theme of family solidarity and togetherness was tackled in this artwork.

In all her works, the subject predominates the composition beaming spotlight on the strength, quiet dignity, and resilience of the common people and fellow Filipinos.

Angelito Antonio and Norma Belleza’s masterpieces are part of the National Museum of the Philippines and Central Bank of the Philippines art collection. Various institutions here and abroad also houses some of their works, a testament to the impact their practice made in the Philippine art world arena.

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Museum and Gallery of Modern and Contemporary Art The Museum and Gallery The Museum and Gallery of Modern and Contemporary Art is dedicated to collecting, preserving, and interpreting developments in the late 19th century to post-World War II art through 1970's (Modern Art) and 1970's to the present (Contemporary Art) in all media and creating a welcoming environment for its public appreciation.

The Museum will promote understanding and interest in art and artists through art shows and exhibitions, curatorial research and publications, and a variety of educational programs, including lectures, guided tours, and workshops.

The Museum is an organic, changing place. Although all the works seen are part of our permanent collection, in order to show the full range of our holdings - over 2,000 objets d'art - and to accommodate important temporary exhibitions, certain works must occasionally be taken off view.

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Modern Art Modern Art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles and philosophy of the art produced during that era. The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. More recent artistic production is often called contemporary art or postmodern art.

Contemporary Art Contemporary Art is the art of today, produced in the second half of the 20th century or in the 21st century.

Contemporary artists work in a globally influenced, culturally diverse, and technologically advancing world.

Some define contemporary art as art produced within "our lifetime".

Free Admission Come Visit Us by Appointment Mon - Fri: 10am - 4pm Sat, Sun and Holidays: Closed Moncada - Alcala - Bayambang National Road (Arboleda Street) San Pedro Ili, Alcala Pangasinan, Philippines museumgallery.ph@gmail.com

Filipino Artists Magazine 39

Youngest son of artist William Yu, studied bachelor of science in business administration major in marketing. I had a solo art exhibit at Ellene art gallery, Greenhills and featured in the books :William Yu halelism book, and William yu halelismo and the Neo Baybayin Calligraphy of the Philippines book.

My art styles are geometric abstraction, geometric expressionism and cubism.

For me art is the love of pictorial invention and a form of communication.

I don't just paint paintings, I paint Art.

Billy 40 Filipino Artists Magazine

Israel A.Yu

Upper left image “Piano Player" Acrylic on canvas 33 1/2in x29 1/2in 2013 Lower Left Image “Smart Phone" Acrylic on canvas 35in x40in 2020 Upper Right Image “The Horse" Acrylic on canvas 24in x 46in 2015 Lower Right Image "Horizon" Acrylic on canvas 35in x 34 1/2in 2012

Artist: Roy Espinosa Title: Twin Tree by the river Medium: Acrylic on canvas Size: 16in x 20in

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“ The Blue Moon.”

Acrylic on canvas. .

This is a painting from the " Two Dogs Barking" series.

Here the two men are locked in conversation as the Chardonnay wisdom begins to inspire their ability to solve all the world’s problems.

The ills of the world will be sorted out this evening and inspiring decisions will be made, but only the two dogs barking will remember as the morning sun breaks.

Another night under the blue moon.

It takes time to see it.

If you want to change the way you create your Art don’t let public opinion sway you.

It’s not that they are right, it’s that your Art is not wrong.

We all look at the Impressionists and think they created wonderful paintings, because we can see them through appreciative eyes, but it wasn’t always that way.

When they first showed their new Art they were ridiculed, it caused riots and they were dismissed as crazy, the public couldn’t see their work and therefore it was wrong.

Yet over time they were accepted and honored and today we see them as great masters.

It’s not wise to follow public opinion when you are doing something new because their opinion can be very wrong because they cannot see it, it’s to different and therefore wrong, until it’s not and then it’s accepted.

It’s not that they are right, it’s that your Art is not wrong.

Mark Shellshear 0947.647.34.65 markshellshear@gmail.com galeriadelasislas@gmail.com 28

Filipino Artists Magazine 43

Christian Lee

Regis His abstract paintings came into being when he started collecting photographs of Old Manila and nostalgic Philippine scenes. By then he created a series of intramuros sights such as the gates, churches, and way of life focusing entirely on promoting the well diverse culture of Filipinos.

To date, he is exploring sculpture and installation.

The Wall within 28in x 24in Oil Acrylic on Canvas

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Marina Bay Sands / 32in x 48in / Oil /Acrylic on Canvas

Walled City / Oil / Acrylic on Canvas / 36in x 24in / 2018

Upper Right Morning Rush (Jeepney Pasada) 24in x 18in Oil / Acrylic on Canvas

Towers of Intramuros Walled City / Oil on Canvas / 32in x 48in / 2015

Lower Right Magdamag na Pasada 20in x 18in Oil / Acrylic on Canvas

Filipino Artists Magazine 45

Roger

Fulgado My art works speak for itself. I love painting nature, like flowers, trees, fruits, coconuts, plants, birds, koi fish, animals and landscapes and sometimes I’m commissioned to do Philippine churches and religious figures etc. I paint using oil on canvas and pastels on paper.

When I start painting it seems I’m connected with my canvas and oil and there’s no turning back, says Roger Fulgado.

I like to take this opportunity to thank all those who have collected my artworks and supported me from the beginning.

It’s quite a struggle meeting ends meet. I thank the Lord that I survived my passion and love for painting.

Rogelio Fulgado Delos Santos also known as Roger Fulgado in the Art scene as how he sign his masterpieces was born on March 7, 1962. He concentrated in Art in 1980 through the help of his brother Roland Delos Santos where he was taught the fundamentals of art like pencil, watercolor, acrylic, oil and pastel. Roger Fulgado has been painting ever since when he noticed he has the skills and talent in drawing. Fulgado’s art has some reason or purpose behind it. It’s more of traditional, symbolic, and religious. It brings beauty in our world. Those who collect my paintings sees pleasure and enjoyment with my work. Some serves as a healer, educator, friend, etc. Art has many roles in one who appreciate it.

He also read several books like Rembrant, Andrew Wyett, and William Harnett that inspired him a lot to capture the light, shade, color, harmony, and details of painting.

He joined various groups, gallery, exhibits and group shows. He is a member of Tanay Contemporary Artists, Tanay Artist Group and, Alegria Gallery. He participated in various group shows like Art and Antiques of Tanay Contemporary Arts, Alay sa Pinatubo at Robinson's Galleria, Faith and Frames at SM Megamall and, Christmas Healing for Children at the Manila Peninsula and Philippine Heart Center.

He joined various exhibits like Alay kay Botong at Cultural Center of the Philippines, Alegria Exhibits at the SM Megatrade Hall, SSS Art Gallery, Malaysian Impressions at Robinson's Galleria, exhibit at Universal Motors Corporation, exhibit at Selangor Turf Club in Malaysia and exhibited twice at Crown Princess Hotel in Kuala Lumpur.

He also participated in the traveling exhibitions of Alegria Gallery in Vigan, Banguet, Cagayan de Oro, Pasig, Manila, and in the cities of Washington, D. C., New York, Chicago, Detroit, and Los Angeles.

The Philippine Consul General in San Francisco, USA also invited the Tanay Artists where he is a member to have an exhibit in the Embassy and until now their works are still displayed there.

He also worked with a fellow artist, Jun Tiongco in a mural wall painting in the house of Bob Kundalman in Colombo, Sri Langka.

He was included in the books of Manuel Duldulao "Twentieth Century of Filipino Artists" Vol. 2 and other books that feature many artists.

Currently, most of his works can be seen in the Impression Gallery located in SM Megamall. And until now, he has been continuing his research and study in Arts.

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Upper left photo going down Title: St Joseph Cathedral, Balanga Bataan Medium: Oil on Canvas Size: 24in x 36in Title: Quiapo Church- Minor Basilica of The Black Nazarene Medium: Oil on Canvas Size: 24in x 36in Year: 2013 Title: St Joseph Cathedral, Balanga Bataan Medium: Oil on Canvas Size: 24in x 36in Title: Fruits Medium: Oil on Canvas Size: 24in x 48in Upper right photo going down Title: Nuestra Senora Del Pilar Church Morong, Bataan Medium: Oil on Canvas Size: 24in x 36in Title: Garden Sunlight Medium: Oil on Canvas Size: 18in x 24in Year: 2014

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Upper left photo going down

Upper left photo going down

Title: Golden Harvest Landscape Medium: Oil on Canvas Size: 24in x 36in Year: 2014

Title: Flowering landscape with Birds Medium: Oil on Canvas Size: 24in x 36in Year: 2014

Title: Buko Series Medium: Oil on Canvas Size: 24in x 36in Year: 2017

Title: 3 Doves and Orchids Medium: Oil on Canvas Size: 24in x 36in Year: 2016

Title: Koi Pond Landscape Medium: Oil on Canvas Size: 48in x 60in Year: 2013

Title: Buko Series Medium: Oil on Canvas Size: 24in x 36in Year: 2011

Angelito Florendo / Lucky Nine / Acrylic on Canvas / 24in x 30in / 2020

Angelito Florendo / Lovely Tree / Acrylic on Canvas / 24in x 36in / 2020 Filipino Artists Magazine 49

A.FAUS (Anne Faustino)

A.faus is an emerging visual artist. She focuses on the sensual nature of Art, aiming to depict vision of thoughts & feelings through a combination of color, texture & symbolism.

She graduated Cum Laude in 2007 from the University of Santo Tomas, College of Fine Arts major in Advertising.

Painting through Soul Connection . The artist paints from her heart & soul. She gathers thoughts when she paints.

She dives deep into the thoughts of emotions on blank canvases. It's a soulwork for her. She loves Art that attracts & seduces the viewer to get them thinking & make them feel something.

Photography by: Paul Nacu

She expresses herself through Art, may it be in the form of painting or poetry. Its authenticity is raw & can be understood only by people who use & understand irony in their minds. '' Back to my first love." she says.

The artist creative process The Artist basically dwells through feelings & depths, with emotions.

"I have to feel something, to create something. When i get the feel of it, visual images zones through my mind like shooting stars waiting to blossom."

"While painting, I listen to music, there's a certain playlist on repeat for that certain artwork. Music to my ears while i stroke the brush to a blank white canvas. I had to listen, to find & feel the flow. Draw every line & fill empty spaces."

"Music & Art play the part to reach my heart." she says.

"You're the Sunflower" Acrylic on Canvas 24" x 30" 2019

Either you can view this work literally as it is, as the image or poetically as through the artists' mind.

"I need a little more time, to heal and be whole again.

Can u feel my heart?

It's still beating..

I'll know when its ready." the Rose says.

There is more to sunflower that meets the eye. The wide, open faces of the sunflowers symbolizes happiness, adoration & longevity. Thus, a lot like Love.

Some sunflowers bloom, Some waits for the sunshine.

Some wilt & droop. "...Its just not meant, You're the Sunflower, I'm A Rose.�

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"The World i See, the Words i can't Speak."

Acrylic on Canvas 36"×24 2020

Never let your environment dictate you on your views & perspectives. Let Love take over every now & again coz it is the only meaningful thing we can offer one another. Not advice, not questions about our choices, not suggestions for the future, just love.

That is how powerful love is.

"To My Future Love" Acrylic On Canvas 10" × 12" 2020

To my future love: If you're there somewhere, I wanna meet your soul.

Not now.

When my heart is ready, Please wait.

I'll meet you soon..

" Eye See You " Acrylic on Canvas 24"x24" 2020

LOVE is beautiful in ALL forms.

Pride month inspired colors that vibrantly shouts that everyone should have equal rights.

I am an ALLY. " EYE see YOU " I am straight but i don't hate.

More LOVE. Less HATE.

"A drift" Acrylic on Canvas 36"x36" 2020

"Sinking towards the end of the deepest core.

The serene sea engulfing my being.

And finally, I'm home.”

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FEU TAMWORLD ON LINE EXHIBIT Month of October was declared as Tamaraw's month per Presidential Proclamation 273 s. 2002 a 'Special month for the conservation and protection of the tamaraw in Mindoro''. The celebration this year is centered on the theme: “Strengthening Tamaraws and Biodiversity Conservation Amidst Pandemic� . One of the significant activities among others, undertaken every year is the TAMWorld Exhibit. The Exhibit features tamaraws and their habitat through photographs and artworks. These works of art also depict the Tau Buids culture and their products, nature and sceneries, flora and fauna. Information on the different conservation and protection initiatives can be discovered as well in the exhibit. It goes with our goal of making the Tamaraw a national pride and recognize the community of people who helped in increasing its population.

This initiative enables more people to discover the world of the tamaraws. Now on its 4th year the exhibit goes on line after touring various FEU campuses in 2017, then commercial malls in 2018 and the latest in terminals and ports. This way it helps intensifies awareness campaign by giving the public the opportunity to learn more about the endemic tamaraws. The exhibit will be available on line on October 28 until November 28, 2020.

Participating Artists are called TAMBayani Volunteers composed of artists from various universities and Art Association of Novaliches headed by FEU Fine Arts Alumni. Their commitment to be with the Volunteerism Services Office , Far Eastern University is a demonstration of dedication and worthy service to the society. Their gesture of volunteerism serves as a role model to the public .

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This event is in collaboration with Nicanor Reyes Memorial Foundation, FEU Alumni Relations Office, FEU Corporate Affairs Office, World Wide Fund for Nature (WWF) Philippines, Department of Tourism (Oriental and Occidental Mindoro), Department of Environment and Natural Resources (DENR MIMAROPA), Tamaraw Conservation Program (TCP), Mindoro Biodiversity Conservation Foundation Inc. (MBCFI) and Art Association of Novaliches. Special thanks and commendation to our Lead Volunteers Artist PSTR VIEL SAMANIEGO, an FEU Alumnus from Far Eastern University for taking the lead and serving as the Graphic artist from the very start of the project in 2017.

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Charles

Rivera IIs an artist that hails from Tanauan Batangas. He loves to paint still life, flowers, sceneries, portraits, people &

children doing their everyday life. As an artist, he tries different mediums as he uses acrylic, watercolor, pastel, oil & even tries his hands on sculpture. He is bold & adventurous in doing his craft. He studied Fine arts at Philippine Women's University (PWU) in the 1980's. He's been doing his craft for more than 3 decades & is a veteran of art exhibits both locally & abroad. He has a devouted patrons & art collectors in his local area & is ripe for recognition from other parts of the country. He has won awards and recognition for his art works ever since he had started his craft.

Below are the Q & A about Charles Rivera, to know him better as an artist.

Question : When & how did you realize that you love doing art?

Answer: In high school, I knew painting is my passion because I painted different subjects in an enamel on board. It was as a student, when I was the first awarded as " Artist of the Year".

Question : What is your favorite subject & medium?

Answer: Watercolor for me, is an interesting medium. I also like pastel, but later on oil on canvas is the medium that is finally the one for Question : Are you doing your art part time or full time?

Answer: Painting is my passion, so I do it in a full time basis.

Question : In painting, what catches your eye or what catches your fancy in order to start & finish your work?

Answer: Mood is very important for me to do my artworks.

Question : Do you consider art as a hobby, a lifestyle or a career?

Answer: Art is a very serious thing for me. It is my lifestyle & my career.

Question: What does your family & friends think of your art life?

Answer; My family & friends appreciate my art and they wish for my success.

Question : Do you have an advocacy?

Answer: To educate the nation that art is the best part in our society.

Question : What do you want the world to know, see & feel about you & your arAnswer: That they appreciates my art works.

Answer: To encourage art enthusiasts to patronize & collect (my) art pieces.

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Upper Left Title: Sa Balsa Medium: Oil on canvas Size: 24in x 18in Year: 2017 Title: "Wawa Boot" Medium: Acrylic Size: 14"× 18" Year: 2019 Title: Street Scene Medium: Oil on Canvas Size: 10"x 12" Year : 2020 Upper Right Title: Street Scene Medium: Oil on Canvas Size: 10in x 12in Year: 2020 Title: "Tangerine House" Medium: Acrylic Size: 10×12" Year: 2019

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Artists: Mylene Quito Title:: Familia Series 5 Medium: Acrylic on Canvas Size: 24in x 24in Year: 2020

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Artphile and Espacio Manila is located at the 2nd level of Festival Mall’s Expansion Wing, Alabang, Muntinlupa City.

For more information, email us at galeriecmg@gmail.com or reach us at 8 829 0831, 0998 964 0832 or 0917 829 3961.

ESPACIO

Espacio Manila and Artphile Gallery are twin spaces that foster the artisanship of Filipino virtuosos ranging from conventional to contemporary visual masterpiece. These two galleries celebrate the intricate beauty of Philippine art, cultivating both fledging and prominent creators who significantly contribute to the local art scene. Albeit both serve as an avenue for various aesthetic sensibilities, Espacio Manila ventures as an exploration for the new media and contemporary expressions; while Artphile promotes the perennial pursuits of traditional artistic works. These two galleries continuously thrive since the inauguration in 2018, successfully hosting group exhibits by various artists as well as the Cebuano artists group lead by Orley Ypon, and the known contemporary art group, the KUTA Artist Group. They also held an exhibit for a cause by a three-man show between Bangladesh Pervaj Hasan Rigan and Nabila Nabi and the Philippines —Roy Espinosa. Espacio Manila also hosted Freedom and Love 2019 Plein Air Live Sketching with the visiting artists from all around the world. The twin galleries have been actively participating in ManilArt where they showcase the works of Roger San Miguel, Jean Govinda Marquesto, Mayi Peñaflorida, Pope Dalisay, Chito Borja and talents of their home-grown artists.

Painting returned 87 years after Nazis stole it from a Jewish family in Berlin Updated 16th October 2020 Written by Christina Zdanowicz, CNN

Decades after Nazis looted artwork from a Jewish family fleeing Germany in 1933, a painting was returned to the rightful heirs.

The painting of two young skaters, "Winter" by American impressionist Gari Melchers, was one of the more than 200 pieces of artwork seized by Nazis when the Mosse family fled their home.

The wealthy Berlin family spoke out against the rise of the Nazis early on in their newspaper, "Berliner Tageblatt." The negative attention earned the Mosses the ire of the Nazis, who publicly criticized the family and later looted their extensive collection of artwork.

After 87 years, "Winter" was returned to the heirs Thursday in a repatriation ceremony at the FBI office in Albany, New York.

"The Mosse family lost nearly everything because they were Jews, but they did not lose hope," Acting U.S. Attorney Antoinette T. Bacon said in a press conference.

"While this certainly does not take away the pain that the Mosses endured, I hope it provides the family with some measure of justice.�

The Nazi regime stole thousands of pieces of art from Jewish families during the 1930s and 1940s, or forced owners to sell them for a fraction of their value as owners fled the country. A database of looted artifacts includes more than 25,000 objects, but experts say the number of stolen pieces is much higher.

Credit: Gari Melchers Rudolf Mosse was a prominent publisher from the well-known family. He purchased the painting -- also been known as "Skaters" and "Snow" -- directly from the artist in 1900 at the Great Berlin Art Exhibition.

Mosse died in 1920 and the family's art collection and publications were passed down to his daughter when his wife died in 1924, according to federal court documents.

When the Nazis came to power, the family made their way to the United States. Little did they know, "Winter" did too, Bacon said.

The painting went from the Nazis to a number of people before businessman Bartlett Arkell bought it from a prominent gallery in 1934. There was no evidence of Arkell knowing the painting had been stolen, Bacon said.

Since 1934, the painting has been in the Arkell Museum in Canajoharie, New York.

When the museum learned the painting was taken illegally, it surrendered the art to the FBI in 2019.

The painting is now with the Mosse Foundation, which represents the remaining heirs of the Felicia Lachmann-Mosse, Rudolf's only daughter.

Since 2011, the Mosse Art Restitution Project has been working to reclaim more than 1,000 pieces of artwork stolen by the Nazis, president Roger Strauch said at the press conference.

"It was one of the first large expropriations undertaken by the Nazis, a template for what became, unfortunately, a well-oiled machine," Strauch, the step-great-grandson of Rudolf Mosse, said Thursday.

"Winter" has an estimated value in the hundreds of thousands, but the figure will be determined in auction, Strauch said. The painting is expected to be auctioned off by Sotheby's.

So far, Strauch said there have been three dozen successful restitutions of over 50 Mosse pieces. But there's more work to be done, he added.

There are eight ongoing restitutions in Poland, Sweden, Germany, Israel and US, he said.

"While it's believed there were hundreds of thousands of pieces of art stolen by the Nazis, our office is extremely proud to help right even just one wrong done during this evil period of world history," Assistant FBI Special Agent in Charge Peter Magnetto said at the press conference.

"We may have played a small role in a massive effort, but we will forever recognize the magnitude of this work and we're truly honored to be able to return this painting to its rightful owners," he said.

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Artist: Roy Espinosa Title: New World Medium: Acrylic on canvas Size: 12in x 18in Year: 2020 Artist: Roy Espinosa Title: One Sunny Day Medium: Acrylic on canvas Size: 12in x 12in Year: 2020

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S'Kaki Art Residency + Art Gallery #skakiartgroup #skakiartstudio #skakiartresidency #skakiartgallery

‘Aim is to build a platform to bring our local art all over the world, and also bringing the world of art closer to us.’ Art For All Serviced Art Studio space and art Gallery for rent in Sri Rampai Kuala Lumpur on flexible week-to-month terms.

Why Looking for Studio art space for working in KL? Whether you’re a solo artist or a larger team, S’Kaki space will find a space to suit with you !

Our S’Kaki Art Residency space brings Studio style Space to the capital, living with studio, Art Gallery space and hostel space for rent all available on easy, simple agreements.

Art space in S’Kaki Malaysia is part of the growing artist network, meaning members in the space will have access to our Thailand, Indonesia, Singapore and Australia or over the world spaces for rent when they travel, with our S’Kaki Art Residency + Art Gallery .

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We offer a variety of spaces. if you are looking for a private space for just yourself or for a large team we’ve got you covered. Enquire now for more information and pricing. Price can negotiate.

Directions / Maps:- https://goo.gl/maps/xFcRonFvLY42 7-2, Jln 67/26 Taman Sri Rampai, 53300 Kuala Lumpur Parking Onsite parking available. (Beside School) Nearby Bus Stops Rapid – AEON @ Alpha Angle Shopping Mall.

Nearby Train Station Wangsa Maju Station or Sri Rampai Station visit site: https://skakiartresidencyartgallery.wordpress.com

South East Asian 61 Artists Magazine Filipino Artists Magazine 61

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