Commune

“COMMUNE” – Lakbay Kalikasan at  SM Art Center

 

A journey into intimacy with nature is the inspirational force behind the Aroma Art Academy, a band of Cebuano artists impelled to record, document, and perpetuate the slowly vanishing beauty and solitude of the countryside. Now on view at the Art Center, SM megamall, “Commune” is the appropriate title of the show as the word suggests an intense communication with the mystery of nature, an immersion into the wonders of rarely viewed places in the province of Cebu.

Participating  artists are Orley Ypon, Jun Impas, Darby Alcoseba, Luis King, Mark Lloyd Belicario, Randy Plarisan, Bobier Crispin, and Romulo Pautan.

Collectively, they come from  successive generations of Cebuano artists representing the artistic heirs of Cebuano master Martino Abellana, who encouraged his students to paint directly from nature. It is noteworthy to mention that Abellana himself was mentored by National Artist Fernando Amorsolo at the UP School of Fine Arts. Amorsolo regularly  painted outdoors, journeying on weekends with fellow artists to the countryside of Marikina, Bulacan and Tagaytay.

The French term “Plein air” is the  traditional  category for painting outdoors, meaning “in the open air.”  Outdoor was  popularized by the Impressionists such as Claude Monet, Pierre-Auguste Renoir, and Theodore Bazille, who as young students in Paris were inspired by the so-called Barbizon painters. A village  near the forest of Fontainebleau outside the city of Paris, the French painters, such as Theodore Rousseay, Jean-Francois Millet, and Charles-Francois Daubigny and Camille Corot,  made the French landscape the subject of their painting. They were themselves inspired by the example of the English artist John Constable, the Romantic painter whose  rural scenes  were painted directly from nature.

Following this tradition, the Aroma Art Academy also travelled to unexplored localities and remote areas  in Toledo, such as Aloguinsan, Pinamungajan, and Sodlon.

Orley Ypon now paints with loose brushstrokes, in contrast to the  previous realistic  renditions  of  his so-called “mud people.” Recalling the bathing maidens of Amorsolo, Jun Impas gives a private view of Cebuana lasses  with their lissome bodies drenched wet in a stream.  Crispin Bobier  depicts a hardy farmer departing  from his lowly shack with his  daily “co-worker.” Mark Belicario discovers erotically suggestive images in nature. Amosolo-esque is Randy Plarisan’s flowing stream and bamboo groves. Romulo Pautan captures the solitude of a deserted dwelling place shrouded with overcast skies. Lately taking up the brush, Luis King is drawn towards the serene and the pastoral, but evocative of Monet’s  restless  brushstrokes. A tangle of thick underbrush and a wild vegetation of shrubs and bushes are the woodsy setting of Daryl Alcoseba.

Emotionally swept by their deep communion with Cebu’s countryside, the artists of Aroma Art Academy share their pictorial talent with the Metro Manila public, parched for the spiritually nourishing and refreshing  aesthetic bounty of nature.

                                                -CID REYES

 

 

 

 

 

 

“COMMUNE” – Lakbay Kalikasan at  SM Art Center

 

A journey into intimacy with nature is the inspirational force behind the Aroma Art Academy, a band of Cebuano artists impelled to record, document, and perpetuate the slowly vanishing beauty and solitude of the countryside. Now on view at the Art Center, SM megamall, “Commune” is the appropriate title of the show as the word suggests an intense communication with the mystery of nature, an immersion into the wonders of rarely viewed places in the province of Cebu.

Participating  artists are Orley Ypon, Jun Impas, Darby Alcoseba, Luis King, Mark Lloyd Belicario, Randy Plarisan, Bobier Crispin, and Romulo Pautan.

Collectively, they come from  successive generations of Cebuano artists representing the artistic heirs of Cebuano master Martino Abellana, who encouraged his students to paint directly from nature. It is noteworthy to mention that Abellana himself was mentored by National Artist Fernando Amorsolo at the UP School of Fine Arts. Amorsolo regularly  painted outdoors, journeying on weekends with fellow artists to the countryside of Marikina, Bulacan and Tagaytay.

The French term “Plein air” is the  traditional  category for painting outdoors, meaning “in the open air.”  Outdoor was  popularized by the Impressionists such as Claude Monet, Pierre-Auguste Renoir, and Theodore Bazille, who as young students in Paris were inspired by the so-called Barbizon painters. A village  near the forest of Fontainebleau outside the city of Paris, the French painters, such as Theodore Rousseay, Jean-Francois Millet, and Charles-Francois Daubigny and Camille Corot,  made the French landscape the subject of their painting. They were themselves inspired by the example of the English artist John Constable, the Romantic painter whose  rural scenes  were painted directly from nature.

Following this tradition, the Aroma Art Academy also travelled to unexplored localities and remote areas  in Toledo, such as Aloguinsan, Pinamungajan, and Sodlon.

Orley Ypon now paints with loose brushstrokes, in contrast to the  previous realistic  renditions  of  his so-called “mud people.” Recalling the bathing maidens of Amorsolo, Jun Impas gives a private view of Cebuana lasses  with their lissome bodies drenched wet in a stream.  Crispin Bobier  depicts a hardy farmer departing  from his lowly shack with his  daily “co-worker.” Mark Belicario discovers erotically suggestive images in nature. Amosolo-esque is Randy Plarisan’s flowing stream and bamboo groves. Romulo Pautan captures the solitude of a deserted dwelling place shrouded with overcast skies. Lately taking up the brush, Luis King is drawn towards the serene and the pastoral, but evocative of Monet’s  restless  brushstrokes. A tangle of thick underbrush and a wild vegetation of shrubs and bushes are the woodsy setting of Daryl Alcoseba.

Emotionally swept by their deep communion with Cebu’s countryside, the artists of Aroma Art Academy share their pictorial talent with the Metro Manila public, parched for the spiritually nourishing and refreshing  aesthetic bounty of nature.

                                                -CID REYES

 

 

 

 

 

 

Patok

“PATOK”

Ricky Ambagan takes us in a Joy Ride

An artist is driven by personal experiences that have

shaped his life, particularly in one’s youth. These then become

the source of their visual images, providing a bedrock of

memories that linger not just in their memories but on their

canvases: creations and products of their artistic passions

transformed into a reality of figures and colors.

Ricky Ambagan is no exception. His current solo exhibition

at the Galerie Anna is drawn from a wellspring of memories,

and as the artist remarks, “ For me, riding a jeepney is like a

time machine experience, particularly the “Patok” jeepney. It

originated from the town of Montalban, Rizal. It was like riding

a sports loaded with loud music. The “Patok” jeepney has the

fast and furious ability to maneuver the traffic jam during rush

hours.”

With this show, Ambagan takes the viewer on a veritable

joy ride, re-creating for us, allowing us to experience the

physical thrill of the speedy ride, the dense crowd and

cacophony of noises which are the daily facts and travails of

living in the metropolis. But Ambagan does more than

physically illustrate this experience. Indeed, he derives and

imparts lessons on Pinoy culture, family relationships,

religiosity, and history, with amusing allusions to topical and

contemporary events, as reflected in our pop songs and

impassioned faith. Nationalism is prefigured by the National

Hero Jose Rizal in a jeepney, seated on its entrance floor.

Suggestive of the Christ is a long-haired and bearded passenger.

The immense crowd that gathered in the streets welcoming the

visit of Pope Francis, hardly seen in a blazing radiance of white

light, bespeaks of our country’s ardent Catholicism. Local color

is splashed in the balloons and cotton candies and iced drinks

that comfort the harassed drivers and motorists who are on the

verge of a road rage. Here are glimmerings of young love and

romantic assignations where the jeepney itself becomes the

frequent place of rendesvouz.

“PATOK”

Ricky Ambagan takes us in a Joy Ride

An artist is driven by personal experiences that have

shaped his life, particularly in one’s youth. These then become

the source of their visual images, providing a bedrock of

memories that linger not just in their memories but on their

canvases: creations and products of their artistic passions

transformed into a reality of figures and colors.

Ricky Ambagan is no exception. His current solo exhibition

at the Galerie Anna is drawn from a wellspring of memories,

and as the artist remarks, “ For me, riding a jeepney is like a

time machine experience, particularly the “Patok” jeepney. It

originated from the town of Montalban, Rizal. It was like riding

a sports loaded with loud music. The “Patok” jeepney has the

fast and furious ability to maneuver the traffic jam during rush

hours.”

With this show, Ambagan takes the viewer on a veritable

joy ride, re-creating for us, allowing us to experience the

physical thrill of the speedy ride, the dense crowd and

cacophony of noises which are the daily facts and travails of

living in the metropolis. But Ambagan does more than

physically illustrate this experience. Indeed, he derives and

imparts lessons on Pinoy culture, family relationships,

religiosity, and history, with amusing allusions to topical and

contemporary events, as reflected in our pop songs and

impassioned faith. Nationalism is prefigured by the National

Hero Jose Rizal in a jeepney, seated on its entrance floor.

Suggestive of the Christ is a long-haired and bearded passenger.

The immense crowd that gathered in the streets welcoming the

visit of Pope Francis, hardly seen in a blazing radiance of white

light, bespeaks of our country’s ardent Catholicism. Local color

is splashed in the balloons and cotton candies and iced drinks

that comfort the harassed drivers and motorists who are on the

verge of a road rage. Here are glimmerings of young love and

romantic assignations where the jeepney itself becomes the

frequent place of rendesvouz.