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Human Regeneration
Origins

Rooted 1n Ethnic

Nakamura Hideki"Ako'y Pilipino" (I am a Filipino)was the title of Edgar Talusan
Fernandez's 15th one-man exh ibition , held at Gallery Genesis in
Manila in May and June 1990. My impression on attending thisexhibition was that I was encountering art of a type that is becoming
increasingly rare in Japan . The paintings featured motifs with symbolic significance realized by methods one might describe as eitherclassical or photorealistic. The artist was striving to throw light onsocial contradictions; his work stressed the importance of Filipino
ethnic origins and seemed to me to suggest possibilities for humanregeneration within difficult situations.
The habit of thinking about art in terms of its close relationshipto life in society and its consequent role in supporting the foundations of social existence is one that has largely vanished from thementality of the Japanese people. One of the causes of this is no
doubt disdain for the idealistic schemati sm of conventional "soc ialist
realism." But the social realism of Fernandez should not be confusedwith this . He takes the reality of the Philippines as the starting point
for an exp loration of his own identity in order to effect his own
salvation. It is thus highly suggestive that one of the paintings
included in the present one-man exhibition in Japan should bear thetitle Searchingfor Oneself. Labyrinthine curves are drawn in combination with a strange landscape containing sharks; the work suggests
a striving after the self within conditions of perplexity and severity.
Felipe M. De Leon, Jr., who teaches aesthetics and interdisciplinary artistic studies at the College of Arts & Lette rs, University of
the Philippines, has described Fernandez as "artist as witness andseer." Long dominated by foreign powers, the Philippines has beenstrongly influenced, to the detriment of the national identit y, byexogenous cu ltur es, and, at the same tim e, it has had to face var ious
problems on account of its var ied ethni c origins . ln such a society,people are obliged to search for their true selves while constantly
confronting "the stranger within ." While living on the inside ofsociety, they thus need to view their society in a cool and collectedmanner and to foresee its future development. Herein lies the tru ero le of an artist in such a society. As he plays out this role, Fernandez
is inevitably committed to the restricted society of whic h he ishimself a member, but it is this very fact that gives his work auniversal quality able to strike a responsive chord in th e whol e ofmankind . His recent work, which includ es paintings such as Danceto the Beat and Lines in the Mind, exudes a richness and strength
gained from returning to the starting point of his nation's ethnic
origins.
What criteria should one employ to assess the appropriateness of
specific motifs as symbols? For exam ple, in Fernandez's major work,
The Struggleof Juan, sharks-sy mbolizing debt - appear at the footof a crucified figure representing the Filipino people, while thedeceitful lackeys of imperialism -sy mbolized by a mask -s mirk on
the sidelines. If it were possible to repla ce such motifs by generally
accepted concepts, one can legitimately ask whether there is any
need to employ the medium of painting to express ideas that could
be quite adequately expressed verbally . But Fernandez's symbols arebacked up by a high degree of personal experience, and they do not
end up as merely explanatory. He emphasizes the positioning andcombination of motifs, and it is in this respect that the spatialconf ines of a painting are necessary to him as a medium of expression. As pointed out by De Leon, Fernandez's paintings contain only
foreground and background. A feature of his work is the dramaticpresentation in which figures appear against a distant horizon or a
backdrop . This is indicative of the central importance in Fernandez's work of the attempt to draw attention to the relationships between
individual motifs in a synchronic manner. The classical style inwhich he paints light and shade and the manner in which dreams of
future regeneration are expressed in the form of perfect circular andoctagonal worlds constitute a unique type of symbolism which could
be realized only in the visual realm. But, rather than questions ofsymbo lism, what is most important is whether a painter strives topenetrate un exp lored realms of chaos bound up with human existenc e.
(Art Critic)

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AN INTRODUCTION TO
CONTEMPORARY FINE ARTSIN THE PHILIPPINES
Alice G. Guillermo
Modernism in painting and sculpture was introdu ced in thePhilippines by Victorio Edades in his 1928 homecoming exhibit fromthe United States . Howeve r, it took some tim e for moderni sm totake root in the countr y, since the conservative painte rs of theAmorsolo school held their ground up to th e mid-Fift ies.
Since its inception, modernism attracted an inc reasing numb erof young, talented, and adventurous arti sts. Th ey hailed moderni sm
for enlarging th e range of painting and renewing it as a veh icle for
personal exp ression freed from academic formu las. As "father ofmodernism."Edades sought to fuse modernism with nati onal identit yin art. A number of artists responded positively by for ming th e firstmodernist groups : to th e origin al triu mv irate consisting of Edades,
Carlos "Botong" Fran cisco, and Galo B. Ocampo were added theThirt een Modem s and the eo-Realists, such as Vicente Manansala,Cesar Legaspi, Romeo Tabuena, H ernando R. Ocampo, and Anita
Magsaysay-Ho.
After the Second World War, the social and political issues of
the time were reflected in art and the debat e between "proletarianart" and "art for art's sak e" came to the fore . The econom ic
dislocations in the Thirties and the years during and after the war
tilted the balance in favor of "proletarian art." Thus, the paintingsof Manansala, Ga lo B. Ocampo, H.R . Ocampo, Cesar Legaspi, andother first-generat ion modernists found new subj ect matter in slums,
jeepneys, beggars, and street vendors in works of social conscio usness.
Modernism brought with it the influ ence of the Schoo l of Paris
which was absorbed, indigenized , and transformed by Filipino artists.
Cubism, especially in its ana lyt ical phase, wh ich broke down th e
human figure into facets and planes, was used as a stru ct urin g
principle rather than as a fragmenting device. Manansa la, Legaspi,
and T abuena, who were known as the Neo-Realists, developed atransparent cubism that redefined space and created a light airy
atmosphere rathe r than the flat segmen ted style of Par is. Lik ewise,
cubism / expression ism acqui red a dynami c expressiveness in th eworks of Ang Kiu Kok, who turned to cockfights dogfight s, and junkheaps of war material for subject matter. Expr essionism was also
adapted to local images of poverty and anguish and to th e growing
protest against inhum an conditions, as in th e paintin gs of Onib
Olmedo.
Meanwh ile, art ists who enjoyed scho larships in the UnitedStates, such as Jose Joya, Constancio Bernardo, and Lee Aguinaldo
came back with the latest art styles from ew York, such as abstract
expressio nism and geometric abstract ion . Later abstract ionists explored the possibility of creating Philippin e abstract art , wh ich draws
inspiration from the natural en viro nm ent, such as th e work ofPhilli p Victo r, and from nati ve cultural materials and resour ces, suchas the tapestries of Paz Abad Santos.
The genera l awaken ing of political consciousness that took
place in the late Sixties prod uced a stron g protest art with nationalist
themes : Artists of talent such as Ben Cabrera, Jaime de Guzmam, andDanilo Dalena significantly contribut ed to this trend . Thi s was
further advanced in the Sevent ies and Eighties by social realist

groups, such as th e Kaisaha n, which included such artists as Edgar
Fernandez, Ant ipas Delota vo, Renato Habulan, and Pablo Baen s
Santos, who have crea ted an art responsive to the issues of th e time.
Aside from themes protesting against exp loitation and for eign
domination and proposing a new vision of society, an important
offshoot of this trend was the mo ve toward the democratization ofart. This was manifested in the development of popular visual forms,
such as murals, posters , cartoon s, comics, and illustration s that canreach a wider publi c. Another expression of the democratic spirit inart was th e use of indigenous material s to make arti stic activ ity
accessible to a larger number, as well as the transformation of
traditional forms to expre ss contemporary contents. It is thesedevelop ments that set the dir ect ion s for Philippin e art toda y.
(Prof essor, Department of Art Studies
Co llege of Arts and Letters
University of the Philippin es)

Edgar Talusan Fernandez
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SOLO EXHIBITIONSThe Ma- Yi Associates, Manila
1979
Rear Room Gallery, Manila
1980
The
Manila Mandarin, Manila
1982
Hidalgo Gallery, Manila
1983
Ateneo Art Gallery, Manila
1984
Ayala Museum, Manila
1985
Gallery Genesis, Manila
1987
Gallery Genesis, Manila
1990
SELECTED GROUP EXHIBITIONSYoung Art in Asia Now, Hong Kong Arts
1980
Center, Hong Kong
Beijing Show of Philippine Contemporary Art
1981
Beijing , China
World Council of Churches Conference, Van1983
couver, Canada
I 00 Years of Philippine Painting , Asia Pacific1984
Museum, California , USA
2nd Baghdad International Art Festival,
1988
Baghdad, Iraq
International Youth Gathering in Celebration
1989
with the Declaration of Human Rights and in
Defence of Democracy, Paris, France
2 Decades of Art Making, Cultural Center of1990
the Philippines (CCP), Manila
6th Watercolor Exhibit Competition, Gallery
1991
Genesis, Manila
AWARDS
1971
1976

1971

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(71~

1979

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1976

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1980-~~tM•f;f\j)iT·
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1990~71
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t: /X1t-tz/7-)0/)(CCP) .f;f\jBorn in Manila
Graduated from Fine Arts, College of Musicand Fine Arts , Philippine Women's University
President, Art Association of the Philippines(AAP)
2nd Vice President, Christian Art Society of
the Philippines (CASP)I st Prize, Family Planning Poster Contest,
Philippine Medical Association
Grand Prize, Painting Contest of Civilization ,CONPRO,Philippines
I st Prize (Travel Grant to Paris), Tribute to
the Youth, Makati - North Rotary Club,
Philippines
Commendation, Young Art in Asia Now, Hong
Kong Arts Center, Hong Kong
Commendation, Makati City Mayor's Office
for assist ing in Community Youth Projects
Wall Mural, Philippines
1990 Cultural Center of the Philippines
Awards for Visual Arts , Cultural Center of thePhilippines (CCP)

.iE~-a-*cl1'.l--cCD
19881f;a3'j;/r'?')Ji,
I 72X 152cm
Searching for Justice1988
oil and acrylic
I 72x 152cm(Z).iE~t-'!'-l •I 9891f7'7')JI,;a3'j;~•IIOXl45cm
Justice and Peace1989
oil and acrylic
I IOX 145cm

@ t:'-H:0--ocl!ifi-;i1990.q'.

;lll'f~· Y7 1JJ1,
91x 114cm
Dance to the Beat1990
oil and acrylic
91x 114cm@-lf'-~l:'i1{--t -;i.iE~
1990.q'.

;illi~ -77 1) )1,
I 52x 122cm
Justice for Peace1990
oil and acrylic
I 52x 122cm