The joint effort of Art Informal, Blanc, The Drawing Room, Finale Art File, Galleria Duemila, MO_Space, Underground, Vinyl on Vinyl, and West Gallery champions innovative ideas adapting to ever-changing cultural landscapes, challenging the working model and consumption of art. Each gallery provides a distinct focus and specific angles unique to its aesthetic, generating a melting pot of dynamic visions supplementing one another. ALT Philippines offers a glimpse of how community comes to be in an inspiring display of togetherness — a uniting effort empowering everyone without exception.

Thoroughly researched and meticulously planned by established veterans in the scene, the Contemporary Art Collective makes certain to amplify the artist’s voice, organically leading to a deeper connection to the art public. “We aim to rouse audience participation and more in-depth discussion within an intimate setting,” shares the collective. In observing how constant societal change can foster new formats, they build a new central space for connectivity in the art world.

The event deeply roots itself in community. Interactive exhibits and collaborative installations encourage a sense of shared awe and expression. Artist talks delve deeper into their respective crafts. Different facets of art overlap in the integration of varying fields of practice. There is always something for everyone, a unique experience for all. In a partnership with UNIVERS, a silent auction of custom Moreau Paris bags was held with proceeds pledged to scholars of the Philippine High School for the Arts. It always circles back to community.

Sharing the same ethos, exhibiting artist Derek Tumala reveals how he establishes a collective practice and finds freedom in his creative identity.

For your consideration: An interview with Derek

Raymond: Can you walk us through your practice?

Derek: Currently I’m interested in ecological world-building, meaning my practice is centered in the interest of climate, nature, and ecology. Most of my recent works revolve around the idea of presenting ecological thinking in the contemporary, which is embedded in a complex system of colonial and capitalist legacies. These can come from a form of an exhibition, public program, even raves/party, community interaction, performance, publication, and research. My artistic expression does not entirely rely on physical material art production, in a way, to resist the capitalist impulse.

R: In what ways are you able to restructure knowledge and shape things constantly evolving?

D: By considering my art practice as public service, my impulse is to learn and understand how the world operates. I wanted to be able to transform my personal view into the universal. Restructuring knowledge in a sense of interconnecting aspects of life that are inherently understood as separate – like art and science, in which we are taught to be entirely separate. To restructure art and science together as a new way of thinking, I want to reconsider generating knowledge that is dynamic and inclusive.

There’s a movement recently that urges humanity to return to our simple ways of living, to reconsider what is progress. To reconsider indigenous and traditional knowledge, to create a language of inclusivity and to revisit our past to create a new future that is free from colonial and capitalist aspirations. This is where I want to situate my thought process.

R: I’ve noticed your exhibited work was a reassembly of reflective perspex taking an entirely different form. That’s sustainability in practice as well!

D: Yeah, I try to reconsider my art production processes by practicing sustainable ways of using material. To be honest, physical objects are the least of my interest in my art practice, but this is somehow essential in an art practice. If I could produce more intangible artworks like video and publication, I think I’ll pursue that more.

R: Is light a key element in a lot of your work? From solar energy to iridescence, in one way or another, there are always different properties of light in play.

D: Yes, light is essential in my work. I think this where my interest in the cinematic quality of raves and theater that draws me to it. Light is a vital part of my work and as much as possible is integrated into my exhibitions. I also was interested in video light projection and mapping, which I was able to transpire in some of my previous works.

R: Environmental ethics also seems to be a recurrent theme. Can you elaborate on this devotion?

D: Environmentalism as they call it is something that I want to pursue. After doing research on climate and ecology, most of our futures are grim and irreversible. We are already in the middle of an ecological crisis, and although I feel hopeless after knowing scientific information on our nature and climate, much of my interest now is to show how we are adapting in a changing world we live in now. Our relationship with nature is something we need to articulate more and more as we move through harsher conditions.

R: There is so much intention in what you create. What about the accidents? Have they been of benefit to your practice as well?

D: There’s an attempt [at] purity in what I do in my art practice. I want to see life as it is, the way I perceive it. So sometimes I feel like I’m over the place but in reality I’m just being myself. I guess we are trained to see art practices as one long linear consistent line that anything that goes against it is not part of the practice, or considered bad. And that is because there is an impulse of selling. An art practice somehow needed to be digestible to be understood. But I guess the less I care the more I feel like I’m doing the right thing.

R: What other avenues are you exploring now? What projects are you proudest of?

I think I want to do more research, more field work. After the MCAD Tropical Climate Forensics project, I think I can create works based on it for the next years. The Philippine narrative is rich but the interest is more on the “pity” side of things. There is more beauty still than horror. My last exhibition “winter high through the veins in search of hot weather” with Mano Gonzales in Edoweird is, I can say, I’m proud of because it presented another way of expression that is close to me – dance. And I was worried that it might be so far from my art practice, but after seeing the video work, I thought this is what exactly how I view my life today, somehow a ritual of disintegration and revival. On how it encapsulates my interest from fashion, rave to ecology. 

R: As an artist, you essentially dream new worlds into existence. How does that usually go for you?

D: I have to constantly move, to constantly think. Learning does not stop, ever. I always think about fantasies, euphoria, dystopia, darkness, and lightness. I think it’s essential for me to be able to feel all of this. I have to meet people, experience life outside of my comfort zone. To go to remote places, reaching far-flung emotions, it’s all part of it. World-making is setting a stage, a cinema of how I build a life towards ecological practice with the consideration of pleasure and pain.

R: How do you avoid creative stagnation?

D: You don’t. When I feel like I cannot produce at a time, I allow myself to languish, to be introspective. I have to rest. I have to listen to my body and mind. The most beautiful act of resistance is to rest.

R: Lastly, what advice can you give young up-and-coming artists?

D: To be patient. Everything takes time to grow. Plant your seeds [in] places you want it to grow. Your most authentic work can grow in fallow soil, [it’s just in] how you take time to care for it. Being ecological is also being considerate to yourself.

– Rappler.com

Nino Grantos, an experienced maninihon, told Rappler that just like all the potters in Bari, he uses a slipping solution, known as haraplas, to complete the final look of their pottery. It consists of fine red soil, often sourced in Lacaron, Sibalom. This will result in the distinctive rich dark red hue and shiny characteristic of Bari pottery after firing.

Precious material

Being the gemstone capital of the Philippines, Gratos said that Sibalom’s gemstones also contribute to the overall durability of their pots. “‘Yung sand noon ang sekreto sa pampatibay sa pots namin dito. Tumitibay ang clay ng Bari dahil diyan.”

(The sand of Sibalom is the secret of our durable pots. Bari clay becomes durable.)

Gratos said that based on his travel to other provinces in the country, Sibalom’s pottery technique is distinct.

“Meron din kaming compressing technique na tinatawag, dito lang talaga ‘yan sa Bari. Sa ngayon, wala pang fully upgraded na gumagawa noon, ako at ang anak ko lang ang gumagawa noon dito,” he said.

(We also have a compressing technique here, only in Bari. As of now, there’s no fully upgraded maker of it, only me and my son are the ones who make it.)

Passed down through generations

Gratos said that they didn’t get a formal education, that’s why they have lived as maninihon for years. 

“Kahit wala kaming pinag-aralan, dito kami magaling. At alam yan ng mga potters din sa iba’t ibang probinsya sa Pilipinas,”

(Even if we didn’t have formal education, we are good at this pottery. And potters in different provinces know that.)

They sell products such as different pots, jars, stoves, vases, and figurines, which take 15 to 20 days to finish, depending on the weather. 

“Bibilhin yan ng kapitalista dito ng P35 ang isa, para sa 15 araw na paggawa. Ibebenta na nila ‘yan ng P150 o mas mataas pa. Mababa talaga ang kuha nila sa amin kaso ganoon talaga eh,”

(The capitalists will buy one piece of stove at P35, for 15 or more days of work. They will sell it then at P150 or even higher. They really get it cheap from us, but that’s just how it works here.)

Quarrying woes

He also said that quarrying is a longstanding problem among potters in Sibalom, as these activities make their work even harder.

“Malaki talaga ang epekto nila sa amin. Wala kaming karapatang pagbawalan sila, kukuha lang sila nang kukuha ng buhangin sa ilog. Dobleng trabaho para sa amin kasi fine sand ang kinukuha namin. Kapag kumukuha sila, nagiging madumi ang nakukuha naming buhangin. Kung saan kami kumukuha at maganda roon, wala silang pakialam, kukunan din nila ‘yon. Kung ano ang natira, ‘yun na lang. Lilinisan na lang namin,”

(It really takes a toll on us. We have no right to restrict them, they just keep on getting sand from the river. It’s double work for us because we extract fine sand. When they gather sand, what we collect becomes dirty. They don’t care if it’s where we’re getting from, they’ll get from that area too. We’ll take what’s left, we’ll just clean it.)

Joel Arevalo, 58, president of the Bari Farmers and Potters Association, said in an interview with Rappler that Sibalom is blessed to have fine sand but now this resource is being abused by exporters.

“Kang uwa pa kato limit sang quarry diri sa Sibalom, gaexport ang Antique sang baras sa Taiwan kag China. Ang iban nga probinsya, ja man gabuol sang baras sa amun. Gakasamad lang ang amun uja nga tulay kato kay damo gid nga trucks ang gabuol sang baras diri,” he said.

(Before, when there’s no limit in quarrying in Sibalom, Antique exported sand in Taiwan and China. Other provinces also get their sand here. Our bridge collapsed before due to the number of trucks who get sand here.)

Hope for the future

Arevalo said that there are lots of skilled maninihon in Bari, but the elders barely know the value of their sand. They were only concerned about survival and making ends meet through pottery. 

“Uwa man sanda kamaan bay sang manggad sa andang suba, maw ran nga wa gid sanda kasayod kung man-o it nami ang baras ujan,” he said.

(Our ancestors don’t know how precious their river is, that’s why they did not realize the quality of their sand.)

Meanwhile, Antiqueño youth Javie Barcinal said that the province of Antique has already provided pottery facilities for local artists. It is located in the University of Antique, a kilometer away from the Bari community.

“I believe that this allows not only contemporary artists to flourish but also community artists like our own maninihons, whose art stems from our ancestors. Their wisdom is more organic, and it is crucial to preserve it. Pottery serves as both a way of life and a livelihood for them,” Barcinal said. – Rappler.com

Jed Nykolle Harme is an Aries Rufo Journalism fellow.

Bird Studio broke the news of his passing on Friday, March 8.

Information ; Dear Friends and Partnershttps://t.co/85dXseckzJ pic.twitter.com/aHlx8CGA2M

— DRAGON BALL OFFICIAL (@DB_official_en) March 8, 2024

One Piece manga creator Eiichiro Oda looked back on some of his fondest memories with his “hero” Toriyama, as well as the contributions the Dragon Ball Z creator has made to manga as a whole.

“He is one of the people who took the baton from the era when reading manga would make you stupid, and created an era where both adults and children read manga…. For manga artists of my generation who have stood on the same stage, the closer I got to Toriyama’s works, the more that I realized that they had a greater presence,” he wrote.

Naruto’s creator Masashi Kishimoto also issued a statement mourning Toriyama’s death, sharing how the late manga creator inspired him to pursue a career in manga.

“I was able to find new fun by following my teacher. My teacher has always been my guide. I admired it…. For me, he was the god of salvation and the god of manga,” he said.

Many other creators and artists paid tribute to the inspiring artist and the global influence of his work, such as Dragon Ball Z animator Masaki Sato, who wrote on X that he is “proud to have been involved” in the animation of Akira Toriyama-sensei’s creation.

Fellow animator Naotoshi Shida also shared that he learned a lot from being involved in the animation
staff.

“I just can’t accept it,” Vagabond and Slam Dunk creator Takehiko Inoue wrote on X.

Voice actors also expressed grief, such as Vegeta’s voice actor Ryo Horikawa and Picolo’s voice actor Toshio Furukawa.

The author of Dragon Ball spin-off manga Toyotarou said that he drew manga because he “wanted to be praised by Toriyama-sensei.”

Final Fantasy’s Hironobu Sakaguchi shared that the late manga artist taught him “what it means to be a ‘professional’ and what ‘work’ is” and that he deeply respected him.

Dragon Quest creator Yuji Horii shared that he is still in “overwhelming disbelief” over Toriyama’s death. He recalled when he first met the illustrator while writing for Shonen Jump.

Japanese abstract and realism artist Yukimasa Ida thanked “the legend” for bringing so much happiness to the world through the power of his inspiration.

“The celluloid pictures you gave me are my treasures,” Ida wrote.

– Rappler.com

Now on its 18th edition, the highly anticipated outdoor art event will be held on Sunday, March 17, from 10 am to 10 pm at its regular location, the Jaime Velasquez Park in Makati City. The event will be open to the public for free.

This year’s Art in the Park will only be the second consecutive edition to be held fully in person after the pandemic. The event was held online from 2020 to 2022, only making its return to its usual location at the Jaime Velasquez Park in 2023.

Here’s what you can expect from the 18th edition of Art in the Park:

Accessibility and fun

Organized annually by the Philippine Art Events, Inc., Art in the Park has always championed the accessibility of art. Aside from following a price cap of P70,000, Art in the Park will feature a good mix of up-and-coming and established artists.

The event will also stay true to its brand of remaining casual and fostering a friendly, non-intimidating atmosphere for all attendees.

“It’s really nice because it’s so casual. You could be standing beside a famous artist. You could be standing beside an emerging artist, or the galleries, or a seasoned collector who really just wants to enjoy,” Art in the Park organizer Trickie Lopa said.

Attendees will again be treated to live music from Soulful Mood, like in the 2023 edition. They will be joined by indie OPM band Any Name’s Okay.

Food and drinks will also be sold on the park premises throughout the entire event.

Exhibitors

Art in the Park 2024 will feature over 60 exhibitors – from galleries and art collectives to independent art spaces and student art groups. All participating galleries are local and will each represent multiple artists to ensure that as many of them as possible are given a chance to showcase their work.

Co-organizer Lisa Periquet also mentioned that Art in the Park is always looking to spotlight different mediums in the event, so attendees can expect to see ceramics and photography, among others, on top of the usual paintings.

Find the list of participating booths below:

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A post shared by Art in the Park PH (@artintheparkph)

Special exhibits

Art in the Park’s organizers also selected three artists to be a part of the special exhibits: Demi Padua, Pepe Delfin, and Clarence Chun.

Hailing from Bulacan, Demi Padua refers to his work as “abstract figurative art.” His childhood interest in creating new toys by putting broken parts together carried over into the art he makes today as he seamlessly merges varying elements to create his visually harmonious portraits.

Padua will kick off his 18th consecutive Art in the Park stint with his special exhibit titled “OPEN sFACE.“

The second artist on the special exhibit roster is abstractionist Pepe Delfin, who graduated with a degree in Information Design from the Ateneo de Manila University. Delfin’s work is most recognizable through her use of geometric shapes and bright color palettes.

Her special exhibit is titled “Bricks and Mortar and a Backdoor,” and will depict her view of her experiences and the relationships she’s formed with those around her.

Lastly, Clarence Chun, who was born in Leyte and later moved to Hawaii, uses his art as a medium to express the complexities behind the places he has called home. His special exhibit, titled “Just As You Take My Hand,” will shed light on his experiences as a first-generation immigrant and a member of the diaspora.

– Rappler.com

The original Mattel Barbie with her iconic blonde hair, black and white bathing suit and eyes angled to the side, was inspired by creator Ruth Handler’s daughter, Barbara, in 1959.

However, in 2024, as Barbie celebrates her 65th anniversary, the dolls are produced in a diversity of colors, hair textures, body shapes, and more.

“Barbie used to be a more singular reflection of beauty and more one-dimensional. Today, there are many Barbies, and we’ve got multiple views of the brand,” Mattel’s executive vice president and chief brand officer, Lisa McKnight, told Reuters at the Mattel Design Center in Los Angeles.

Barbies come in 35 skin tones, 97 hairstyles and nine body types, including dolls with wheelchairs, Down Syndrome, vitiligo and plus-sizes as well as gender neutral dolls.

The doll has also become the fashion icon recently inspiring Barbiecore and helping many renowned hair stylists and clothing designers, like Karl Lagerfeld, get their start.

Adding to the brand’s evolution, the commercial success of the 2023 8-time Oscar-nominated Barbie movie directed by Greta Gerwig, starring Margot Robbie and Ryan Gosling added a new emotional depth to the doll.

However, these gains didn’t come overnight.

“I’m so grateful I didn’t grow up with Barbie,” women’s rights activist Gloria Steinem said in the 2018 Barbie documentary on Hulu Tiny Shoulders: Rethinking Barbie.

“Barbie was everything we didn’t want to be, and were being told to be,” she added, referring to her work as a second-wave feminist advocating for equality in the 60s and 70s.

To this day, the doll is still associated by some with unrealistic body proportions, gender roles, and Eurocentric beauty standards.

While considering these concerns, Mattel keeps adding multifaceted dolls to be pretty in pink.

The brand is open to different voices that go beyond that of its designers.

“What’s most important for us is that we take on board consultation from all kinds of communities when we’re designing,” said Kim Culmone, senior vice president (SVP) of design.

While expanding, however, some things remain true for the toy brand, including hand-painting Barbies and using the same sewing machines that have been around since 1959.

Whether it is hand-sculpting new dolls or operating advanced 3D-printers, the brand is open to change.

The 65th anniversary dolls created by Filipino lead designer for Barbie Signature, Carlyle Nuera, are a reimagining of the original Barbie’s bathing suit as a black and white gown accompanied by white cat eye sunglasses.

Rather than just the classic white doll with blonde hair, there’s also a Black doll with braids and laid edges, a popular style for Black women that includes soft and sleeked baby hairs.

“If we continued to do the same thing that we’ve done before, over and over again, Barbie would not be the success that she is today,” Culmone said. – Rappler.com

The “An Kultura Ha Pagkaon ha Palo: A Learning Conference on Palo, Leyte Gastronomy” at the historic municipal building started on Wednesday, March 6, and will continue until Friday.

In a vibrant display of culinary tradition and community spirit, local cooks presented an array of flavorful dishes at a recent community cooking workshop.

Among the highlights was hinatukan na manok, a fragrant native chicken stew infused with a medley of ingredients including ginger, onion, papaya, coconut milk, chili, and turmeric leaves.

Another standout was lawot-lawot, a traditional dish bursting with mountain-fresh flavors, featuring a colorful assortment of taro leaves, fern leaves, sweet potato leaves, red spinach leaves, and wild mushrooms.

Guests also indulged in suman arasip, a well-loved delicacy crafted from sago arrowroot flour, offering a delightful blend of texture and taste.

Meanwhile, the crowd savored moron, a delectable treat combining glutinous rice flour, coconut milk, sugar, and cocoa powder, creating a symphony of sweetness and richness.

Kinarabong pako took the spotlight, featuring fern leaves in a dish that celebrated both local ingredients and culinary heritage.

The culinary showcase not only delighted taste buds but also celebrated the rich mosaic of flavors and traditions within the community.

History-rich town

The event’s venue is the old Palo municipal building, which has become an icon of the town. It is a well-preserved building that once served as the seat of power in Leyte.

Palo was declared twice as the provincial capital before Tacloban City served as Leyte’s administrative seat. The first declaration was in 1768, and the second on April 22, 1901, when the American forces established a civil government.

The town is only a 15-minute drive from Tacloban City, approximately 14 kilometers away.

One of the town’s guests, Culinary Arts Historians of the Philippines President Ige Ramos, described the municipal hall of Palo, Leyte as “one of the cleanest, most beautiful, and well-planned municipios” that he has seen in the entire country.

“This is what good housekeeping and good governance are all about,” said Ramos, who is also the chairperson of the Ugnayan Center for Filipino Gastronomy.

The old building is just across the town’s plaza and the century-old Palo Metropolitan Cathedral, the seat of the Archdiocese of Palo.

Leyte officially transferred the provincial seat of government from Tacloban City to Palo in 2022, after the construction of the new provincial capitol along the Palo west bypass road. Tacloban was a component city of Leyte and the province’s capital until it was declared a highly urbanized city in 2008.

Palo now serves as the regional capital of Eastern Visayas, hosting various regional offices in Barangay Pawing.

The town’s history is rich. It is where American forces landed on October 20, 1944, to liberate the Philippines from Japanese occupation. It marked the fulfillment of the vow of the commander of the United States Armed Forces in the Far East (USAFFE), General Douglas MacArthur, who promised, “I shall return.”

Setting its rich history aside, the enticing local food and the beautiful and historic municipio of Palo, Leyte are among this town’s treasures from the past, that make visitors come back for more. Locals always say, “Once you see Palo, Leyte, you shall return.”

Preservation and revival

Former Leyte governor and now Palo Mayor Remedios “Matin” Petilla emphasized the importance of learning and preserving their town’s identity through food. She said she was hopeful that “one day, people will come to Palo not just for the beautiful tourist attractions but for their tasty food.”

Laorence Castillo, a freelance chef and food and beverage consultant, described the event as a remarkable experience for him, saying he was introduced to local ingredients such as asarip flour – a starchy substance extracted from palm trees – and other local delicacies during their market and community hoppings, and carenderia stops.

He said he learned about Leyte’s food traditions and techniques such as pairing boiled root crops with meat dishes and using coconut milk in various ways.

“Most admirable is how the people revive their food heritage after the widespread devastation of Yolanda (Super Typhoon Haiyan) a decade ago. Sobrang saya ko sa inisyatiba at excitement ng mga local cooks na ibahagi ang kanilang mga lutuin sa community cooking workshop (I am so happy with the initiative and excitement of the local cooks to share their dishes in the community cooking workshop),” he said.

Super Typhoon Yolanda devastated many areas in the Philippines, causing widespread destruction, loss of life, displacement of communities, and significant damage to infrastructure and livelihoods in 2013. It was one of the most powerful typhoons to ever hit the country in recent years. – Rappler.com

Gerardo C. Reyes Jr. is a community journalist at Palawan Daily News and is an Aries Rufo journalism fellow of Rappler for 2023-2024.

The designs, by Melecio Magbanua Figueroa, depict on one side a lady, sometimes called “Filipinas.” She has a hammer, striking an anvil, while Mayon Volcano smolders in the background. The lady appears on coins 10 cents and above, while on the lower denomination ones, a male is shown sitting with an anvil. The “Filipinas” coins were of a silver mix (hence, whitish) compared to the brown guy, where copper was used. When Figueroa was designing, he looked to his only child, Blanca, as a model (she was just 10 years old in 1902) and imagined her as an adult. Unfortunately, he did not live to see the coins in general use, as he died in 1903.   

When I was growing up in the ’60s, the silver coins were often referred to as “genuine,” and were favored for use in wedding ceremonies as the “arras” signifying material prosperity while the one and five centavo coins were used as “batano” (tokens or markers) for childhood games. When sparks of Pinoy nationalism hit in the ’70s, designs were replaced with Philippine heroes and heroines. Through the decades, the reverse side of the coins changed – both designs and text, with the American eagle and “United States of America” eventually giving way to “Central Bank of the Philippines.”

Designing these coins alone would have easily made Figueroa’s reputation, but there is more – as revealed by researcher and former Director of Public Affairs of the Limbagang Pinpin Museum, Gerard Wassily Clavecillas, in a lecture given at the UPV Performing arts hall last February 12. The talk was sponsored by the OICA (Office of initiatives for Culture and the Arts) of UP Visayas, and the UP President’s Committee for Culture and the Arts.

Figueroa was born in Arevalo in 1842. His mother, Gabriela Magbanua, died early. His father, Rufo, relocated to Sorsogon, to be with family, who were known artisans. As a child he carved wooden toys. In Manila he studied at an art school founded by Damian Domingo while moonlighting as a watch repairer. In 1871, with the support of a high-ranking Spanish official of the Manila Ayuntamiento (city hall), he was awarded a scholarship to study engraving in Spain. According to the late psychiatrist-historian Luciano PR Santiago, who has written extensively on Figueroa: “Unique in the history of art in the Philippines is the private scholarship to Spain granted in 1871 by Don Francisco Ahujas, to a native artist, Melecio Figueroa…. The only example of a private scholarship abroad offered by a colonialist during the three centuries of Spanish rule in the Philippines…”

Figueroa studied at the Escuela Artes y Officios where, despite late entry, he still won honors for his work. After a year he entered the Real Academia de Bellas Artes de San Fernando in Madrid, where he received awards of distinction. The Academia (today known as the Faculty of Fine Arts of the Complutense University in Madrid) is the top school for fine arts in Spain; students there have included Picasso, Dali, and Pinoy notables such as Luna, Hidalgo, and Amorsolo. He was commissioned to make busts and medals for European royals, including that of the Spanish King, Alfonso XII. Unfortunately, his patron Ahujas (who had been appointed to the powerful Council of the Philippines in Madrid) died in 1876; Ahujas’ daughter continued the scholarship until the end of the year, and Figueroa’s colleagues in the Academy also did their share — a caretaker at the academy let him use one of the rooms for his lodging – while the struggling artist did menial jobs and repaired watches to make ends meet.

A year after, with appeals by friends and supporters in the Philippines as well as the Academy, Figueroa was awarded another scholarship, this time from the central government in Manila, for another three years. In 1879 the Academia chose him, after competitive examinations, as its scholar in engraving and was sent to Rome. He was the only Indio Filipino to be so honored by his alma mater. While in Rome, he garnered three more prizes.

Santiago writes that by the time he returned to Madrid, he was a celebrated artist. For the Grand Philippine Exposition at the Spanish Capital in 1887, he was commissioned to design the award medals and appointed a member of the board of judges, the only person from any of the colonies. The Figueroa-designed medals created such a stir that the Queen Regent awarded him another four-year pension in engraving (1888-1892). 

Thus, Figueroa was the only Philippine artist during the colonial period to have won a scholarship four times; one private and three government for a combined period of over 15 years. The prizes he won in competition during his time in Spain and Rome surpass those of any other Filipino artist’s, Luna included. Two of the medals he designed are in the collections of the Prado Museum: the medals awarded for the 1887 Exposition and the Victor Balaguer medal – the latter is the only one that Figueroa both designed and personally struck. Interestingly, the Prado also has a Luna portrait of Balaguer featured in its catalogs and website; here it is acknowledged that Luna used the Figueroa medal as the model for the portrait. 

In 1888, Figueroa married Enriqueta Romero of Madrid. Three children were born in Madrid but died early. He received another silver medal in engraving at the Barcelona Exposition. In 1891, he received news that his father’s health was declining and he requested to return. His wife was pregnant when they sailed for the Philippines early in 1892. The child, Blanca, was born during the voyage to Manila. 

With his credentials, Figueroa took Manila by storm. La Ilustracion Filipina, a prestigious weekly, featured him and his portrait graced the cover of the May 21, 1892 issue. The Manila Escuela de Dibujo, Pintura y Grabado – which was later to become the College of Fine Arts of UP – appointed him professor of engraving. He was its only Filipino Malay member of the faculty. The others were either Peninsulares or Criollos who had trained in Europe. In 1893, he was appointed “Grabador Primero” of the Manila Mint. In 1894-95, in addition to his engraving work, he created bust sculptures and portraits, as mentioned in publications then, but none of these are known to exist today.  

In Madrid he was a member of the Circulo Hispano-Filipino and the Associacion Hispano Filipina both of which agitated for reforms in the colony. Certainly he was known to national heroes Jose Rizal, MH del Pilar, and Graciano Lopez Jaena; the latter mentioned Figueroa in a speech he gave at a dinner in honor of Juan Luna and Hidalgo.  

After independence from Spain was declared, Figueroa was appointed a member of the Malolos Congress (representing Iloilo) and was one of the signers of the Malolos Constitution that established the First Philippine Republic (1898). However, independence was short-lived, as America took over the reins after purchasing the islands from Spain and winning the Philippine-American war. Nevertheless, he won a 1901 competition to design the coins, which were later known as the “Conant.” The symbolic figure was a thinly clad statuesque young woman – his daughter Blanca, imagined as an adult. Incidentally, Blanca Figueroa Opinion lived until her ’80s, and was present at the opening of the Philippine Central Bank Museum of Money in the 1970s.

Thus, while the coin series is undoubtedly the best known of his works, Clavecillas’ research uncovered the whereabouts of a rare Filipinana treasure: the only work that was designed and personally struck by Figueroa – the Victor Balaguer medal, of which three are extant. The silver one in the Prado, and one each of copper – one in the Victor Balaguer Museum, and the other in a private collection in California. 

Art historian and painter Fabian de la Rosa wrote of Figueroa: “He is the only Filipino engraver who had developed the art of engraving from its purely artistic aspect with unsurpassed efficiency and enviable success…”

There is no doubt that Figueroa deserves much more recognition that having a small side street in Arevalo named after him. Perhaps a bust and statue in the public plaza, and a historical plaque from the NHCP would be appropriate. The country’s foremost engraver and a founding father – a signer of the first Constitution – deserves no less.  

Those interested to see his coin designs can visit the UPV gallery of contemporary art, where there is a display. Ambeth Ocampo also features the iconic designs in his Cabinet of Curiosities (2023). Furthermore, Figueroa is inextricably linked with two of the more enlightened colonial administrators who made great contributions to Philippine art and culture: Francisco Ahujas and Vicente Balaguer. The latter was a writer, historian and politician, and three-time Minister of the Spanish overseas colonies. During his term the National Museum and the National library were approved. – Rappler.com

Additional information provided by Gerard Wassily Clavecillas and Frank Villanueva.

Vic Salas is a physician and public health specialist by training, and now retired from international consulting work. He is back in Iloilo City, where he spent his first quarter century.

Determined to act on her affinity for art, Laki Mata took up Fine Arts in college. But she found herself unsatisfied with the type of work she was doing in the classroom. 

“‘Yung practice doon, mataas ‘yung standards. Kailangan mala-Picasso or realist. Pagdadaanan mo ‘yung steps na ‘yun e, so nagco-comply ako doon. Pero hindi ako satisfied sa mga ginagawa ko, kaya doon nadevelop si Laki Mata,“ she said. 

(The standards were high in the [Fine Arts] practice. Your art had to either be similar to Picasso’s or be realist. You’ll be made to go through those steps, so I complied. But I wasn’t satisfied with what I was doing, so that’s how Laki Mata was developed.) 

Besides now being her artist name, Laki Mata is known as the big-eyed, nude female character that is always painted with different shades of pink. 

The making of the character Laki Mata

The character Laki Mata – which translates to “big eyes” in English – was inspired by the artist’s younger sister named Baburoo. 

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“Kaya gano’n ‘yung art style [ni Laki Mata] kasi [nung] high school ako, nagkaroon ng baby ‘yung mama ko. Bunso namin siya. Ang pangalan niya Baburoo. Nung college ako, ‘yung drawings ko, Baburoo ang tawag nila kasi ‘yung kapatid ko na ‘yun, ang laki-laki ng mata niya!“ Laki Mata explained, smiling as she recalled her character’s origins. 

(The reason why Laki Mata’s art style is the way it is is because my mom had a baby when I was in high school. She’s our youngest, and her name is Baburoo. When I was in college, people would call my drawings Baburoo because she had such big eyes!) 

Beyond Laki Mata’s remarkably big eyes and notable pink hues, however, the character being fully naked tells a deeper story of its own. 

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“I’m painting a world where emotions, vulnerability, and feelings exist. For me, kaya wala silang damit kasi ‘yun ‘yung nag-ga-ground sa atin sa reality. Paano ba mag-paint ng titser? Naka-uniform. Paano mo ipapakita na bata siya? Naka-baby doll dress ba siya? So, sa akin, hinubaran ko ‘yung character para maipakita ko kung sino talaga siya,“ Laki Mata explained. 

(For me, the reason why they’re naked is because clothes are what ground us in reality. How do you paint a teacher? In uniform. How do you show that someone’s a child? Do you put them in a baby doll dress? So, for me, I strip my character of its clothing to show who she really is.) 

Being in a conservative country like the Philippines, however, it’s always been a common occurrence for the young artist to receive flak for her work. During her past art market stints, she would even get told that she should not be allowed to sell her work there because her character’s breasts were visible. 

Nevertheless, Laki Mata stands her ground. She is well aware of the intentions behind her art anyway, so she merely brushes off these comments whenever they come her way. 

Normalizing emotions

Browsing through Laki Mata’s paintings, it’s easy to see that the character channels a wide range of emotions each time – including the ones that are often frowned upon when it’s a woman displaying them. 

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It’s common for women to be made to suppress their emotions out of fear of appearing “unladylike.” And so, when a woman expresses rage or sadness, she is often met with looks of pure judgment. 

For Laki Mata, who takes inspiration from strong female creatives like Frida Kahlo and Soraya Chemaly, it’s the same in the realm of art, where the presence of intense emotions in paintings is outwardly looked down upon. 

“Sa art scene natin, takot tayong idiscuss ‘yun dahil maaaring masyado siyang focused sa female e. [Sinasabi nila]: ‘Paano ‘yan bibilhin ng iba? Hindi siya pangbenta kasi ‘pag ididisplay ko ‘yan, galit, parang malas,'” Laki Mata shared. 

(In our art scene, we’re scared to discuss that because it’s too focused on females. They would say: “How could anyone buy that? This can’t be sold because when it’s displayed, it seems angry, like it’s bad luck.”) 

But Laki Mata is here to challenge that. Through her work, she shows that there’s nothing wrong with feeling the way we feel. After all, it is our emotions that make us human. 

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“As females, ‘di ba nahubog tayo sa world na ang mga emosyon natin ay dapat isinasantabi. Kapag nilabas mo ‘yan, magiging uncomfortable ‘yung nasa paligid natin, so dapat tinatago ‘yan. Pero ‘yung totoo, natatakot lang sila at nile-label-an nila ‘yung mga gano’ng bagay to control us,” she said. 

(As females, we were born into a world where we are taught to suppress our emotions. When you express them, the people around you will get uncomfortable, so you have to hide them. But in reality, they’re just scared, so they label things like that to control us.) 

Laki Mata’s two solo exhibits “Soft Pink Feelings” and “She Rage” are testaments to these sentiments. 

“Soft Pink Feelings” takes on her theory that we were once all emotionless celestial beings made to go down to earth to experience all these different emotions in a blip – and it’s up to you if you’ll agree to it. The paintings from this collection depict Laki Mata doing what she can to get through these feelings, like hugging a teddy bear or drinking alcohol throughout her fits of sadness, and wielding a knife as she navigates her anger.

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“Ikaw na pumayag, ito ‘yung emotions, hindi ka makakapili diyan e – dadaanan mo ‘yan. Pero hindi ikaw ‘yung emotions mo, dumadaan lang siya, kasi ‘yun ‘yung nararamdaman mo,” she explained.

(You agreed, so these are the emotions, but you won’t be able to choose which ones you’ll feel – you’ll go through them. But you aren’t your emotions, they’re just passing by, because that’s what you’re feeling.) 

The concept behind “She Rage” then stemmed from Laki Mata’s idea from “Soft Pink Feelings” that we feel certain emotions – like rage – intensely. 

“Minsan, sinasabihan tayo na parang monstrous ‘yun at masama ilabas ‘yung gano’ng mga emotion (Sometimes, we’re told that it’s monstrous and bad to express these emotions),” Laki Mata said. 

And that’s exactly what the pieces included in “She Rage” attempt to fight against. In these paintings, Laki Mata takes ownership of her rage and acts on it – even if it means being met with disapproval from those around her.

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And so, while Laki Mata started as a way for the artist to chart her life from girlhood to womanhood, it has aptly transformed into a symbol of comfort for all women.

“Sobrang lawak na ng mundo ni Laki Mata. It represents all girls na. Hindi lang story ko ‘yung nate-tell ko, pati na rin ‘yung mga nakikita ko, mga na-o-observe ko, pati ‘yung mga nakukuwento sa akin (Laki Mata’s world is so big now. It represents all girls already. It is no longer just my story I’m telling now but also those of what I see, what I observe, and what is shared with me),” Laki Mata stated. – Rappler.com

Jennylind Cordero, Department of Tourism-Western Visayas chief tourism operations officer, said on Saturday, March 2, lauded the newly-opened art hub dubbed as “House of Paintings” in Cadiz City , 55.7 kilometers north from Bacolod.

“Definitely, this is a boost to DOT’s newest thrust: ‘creative tourism,'” Cordero said.

She described creative tourism as the “spur plug” for a new era in travel, and that the concept dwells on the artistic creations of Filipino artists and their societal impact.

Cordero said Cadiz’s “House of Paintings” is expected to create a multiplier effect that will help transform the community from being famours for dried fish into the next flourishing “tourism haven” in Western Visayas.

The new art hub, which is home to 70 city-owned paintings, was officially opened to the public on February 19, in line with the observance of Arts Month.

Write Ver Pacete, one of the tourism gurus in Negros, commended Cadiz Mayor Salvador “Bading” Escalante, Jr. for coming up with the noble idea of establishing a permanent home for noteworthy art pieces courtesy of artists not only in Cadiz but in Negros Island.

Escalante said that the “House of Paintings” was set up just “by chance.”

The art hub is located in the compound of the Philippine Normal University-Visayas (PNU-V) in Barangay Zone 1, Cadiz, in what used to be the old and dilapidated former headquarters of the Boy Scout of the Philippines (BSP).

When the city government was looking for an alternative event venue, the former BSP headquarters was accidentally spotted, Escalante recalled. He said a study was conducted on repurposing the structure and later on the project proposal was submitted.

The city government spent P5 million for a three-phase renovation completed in  five years.

During a walk-through inspection of the building prior to its opening on February 19, the mayor said he found the space “too bare” and he brought some of the paintings from the new city hall.

Not contented, the mayor ordered the immediate migration of more paintings from the city’s stock room until they there were 70 art works housed in the newly-renovated BSP headquarters.

During the opening in February visitors were amazed to see so many beautiful paintings adorning the hall, leading instant baptism of the building as the “House Paintings.”

Pacete said Escalante, through the new art hub, “reawakened” Negros’ passion for the arts. – Rappler.com

One Sunday, you go to Legazpi Village and see young adults like you checking out the vinyl – vinyl is always singular – by flipping the top of the album towards themselves to check out titles to buy. It’s called crate digging.

Pretend you already have a vinyl-ready audio system.

Taylor Swift or jazz legend John Coltrane? Ah, everyone has Taylor but Coltrane is a cool cat and his face on an album cover will look great in selfies.

The used Coltrane costs P2,000 but you can recover it by just having free pantry coffee for a week instead of going to an artisanal , single source cafe with tattooed baristas.

But you don’t have a vinyl-ready audio system, so stop daydreaming and let’s backtrack.

To play vinyl, you need these things:

1. A turntable with a cartridge and needle or stylus that “reads” the grooves on a record, so to speak.
2. A phono-ready amplifier which will boost the signal from the stylus.
3. Speakers to play  the music at the volume you want and are controlled by the amplifier

Don’t even try to mix and match differrent audio brands if you’re a newbie. You will inevitably make mistakes and waste money.

I have long respected a UK brand called Rega, which caters to both newcomers and veteran audiophiles.

I contacted Rega Philippines to get an idea of the cost of a starter system. 

It so happens that they have a limited-edition, yellow-dominated turntable named after the great artist Juvenal Sanso. 

The design is derived from his work “Impact of Creation.”

Rega told me the price.

“Hi, Roberto! The turntable is ₱65,000. You may opt to get the complete system, including turntable, amplifier, and speakers, for ₱125,000 with free speaker stands and cables,” Rega said.

Go for the full package. It’s virtually plug and play.

I’ve collected vinyl records and compact discs for more than 40 years. Vinyl really sounds richer than digital if you have the right gear. But it is an expensive and addictive hobby.

If you don’t have the money for vinyl or have other priorities, subscribe to Spotify on your mobile phone and listen to music through earphones or headphones.

Better yet, buy a wireless speaker like JBL. You can play Spotify via Bluetooth on the speaker. Some of them sound pretty good, delivering punchy bass (low notes).

Even if you eventually switch to vinyl, Spotify will enable you to audition albums and pick really good records.

That’s all from Uncle Bob, your audiophile tito. – Rappler.com

Roberto Coloma, better known as Bobby, retired in 2022 after 40 years as a foreign correspondent. He started his career as editor-in-chief of the Philippine Collegian, the student newspaper of the University of the Philippines.