KASINING ESSAYS by Arnaldo de Tondo

  Essay 57. HARI'S RAINBOW-COLORED WORLD By Arnaldo Bernabe Mirasol  One hundred fifteen years after Pablo Picasso created the proto-cubist painting, "Les Demoiselles d'Avignon",  Cubism continues to cast its spell on the present generation of artists. Cubism, was one of the pioneering styles that eschew depicting natural appearance in art, the dictum propounded by Picasso when he declared that "Nature and art, being two different things, cannot be the same thing." Filipino artists, painters and sculptors alike, took to the new style. Vicente Manansala, after his French sojourn, switched style and adopted Cubism, and abandoned for good the Botong Francisco style that had inspired him for some time.  Many Filipino painters followed Manansala's lead. Among them was the late Oscar Zalameda. Zalameda is Hari's lodestar. Both of them are natives of Lucban, Quezon. It is perhaps because of their shared affinity for that place why Hari adopted Zalameda'

Essay 56. THE ARTIST AS A TECHNOLOGICAL MAN By Arnaldo Bernabe Mirasol The story is familiar: the life journey of a boy born into a family with meager means, who struggled hard to make something of himself, and attained in the end his dream of being a successful artist. The boy I speak of here is JERRY YBAÑEZ CONTRIDAS. Contridas was born in Calbayog, Western Samar to Pedrito M. Contridas and Norma Ybañez. His artistic ability manifested itself early, during his elementary school years. Contridas initially aspired to earn a degree in Fine Arts but was forced by his straitened circumstances to take up instead Graphic Arts and Printing Technology at the Technological University of the Philippines (TUP), a course which to his mind guaranteed immediate employment upon graduation. It was a four year course, and Contridas completed it by his own effort by working as a lay out artist at Hiyas Publishing House. After college, Contridas was assigned another position in addition to being a lay-o

Essay 55. OF FABRIC PRINTS, JAPONISME, AND KLIMT By Arnaldo Bernabe Mirasol  MYLENE QUITO's art exudes feminity all over. Her paintings of blossoming flowers, mother and child, and even her abstracts, are all decorated with patterns not unlike the prints of dainty girl dresses. Mylene might have arrived at this style on her own, without her being influenced by artists doing similar works, but this style, Pattern and Decoration (P&D), has been around since the mid-1970s. The P&D Movement was organized to attract the critical attention monopolized then by conceptual and minimalist art. The P&D's distinct trait was its appropriation of fabric and wallpaper patterns, and also the arabesques and ornate designs of Islamic and other non-Western art.  Although often associated with feminism and feminine crafts like quilting, embroidery, and the like, the P&D Movement also has male adherents and practitioners. There's nothing surprising in that because this patternin

  Essay. 54. BEST OF BOTH WORLDS By Arnaldo Bernabe Mirasol  REX O. CELIZ is in an enviable position. That's because he was able to achieve his childhood dream of becoming a painter and at the same time practice a lucrative career as a corporate lawyer. Celiz disclosed that his desire to be an artist never waned when he grew up, but practical consideration made him opt to be a lawyer instead. Celiz first studied History at the University of the Philippines-Visayas. After receiving his Bachelor of Arts degree there, he next enrolled at the Ateneo de Manila University where he earned his Juris Doctor degree. He also took advanced studies at the University of San Diego for his Master Of Laws degree  Bago City is in Negros Occidental, a province in Western Visayas, known for its sprawling sugar cane plantations. Celiz was born there, in 1966. The sights of these plantations and the seasonal routines of the migrant sugarcane workers or "sacadas" cutting ang gathering those sug

  Essay 53. PAINTER OF NATURE'S BOUNTY By Arnaldo Bernabe Mirasol ERIC MANUEL PRESADO followed his bliss and found full unalloyed satisfaction by selflessly imparting his knowledge of art and art making.  A Special Art teacher for ten years at the Mabini Elementary School in Quiapo, Presado had taught specially-inclined children there the rudiments of drawing and painting. Presado's advocacy started with his involvement with Imee Marcos's "Super Kulayero (Super Colorers)" movement in the latter half of the 1970s, the goal of which is to encourage artistically-gifted children to help turn drab walls into concrete ''canvases" for colorful murals. The Super Kulayero was actually a spin-off of the 'Kulay Anyo ng Lahi (Color and Form of the Race)' project of the  First Lady Madame Imelda Romualdez Marcos. Participants in her project, which include four future National Artists, had their designs magnified and copied on walls of selected buildings by