ARTICLE
2006 AAP Annual harvest
First posted 01:04:15 (Mla time) February 05, 2007
Gino Dormiendo
Inquirer
MANILA, Philippines -- It WAS a contest that clearly separated the boys from the men, the dividing line not unlike light and shadow. Which proved to be quite a tall order for the jury, including this writer, as there were innumerable entries that fell into the way of the good, the bad, the pretentious--and the mediocre.
The 59th Art Association of the Philippines (AAP) Annual had been, from the start, beset with logistical problems, as the sponsor of the cash prizes had backed out, and its long-time patron, the National Commission for Culture and the Arts, has, as of this writing, yet to come to the succor of the grand old dame of Philippine art.
Many of the artists had also opted to join more lucrative contests, albeit there were more offerings available at the AAP Annual.
The first prizewinner in the painting category is Christian Mirang for "Revelation," a powerfully conjured image inspired by verses from the Bible with their two main elements---doves and nails---captured in their divinely paradoxical fates: flight to freedom and decapitation.
The second prize went to Charlie Rana Villagracia's "Grief of Ego," a postmodern rendering of melancholia and death exacted on a couple of pet birds, a haunting scene devoid of melodrama.
Third prize went to Salvador Corpuz Sierra's "Suntok sa Hangin," a surreal view of a biker at the helm of a make-believe contraption of a folk jeepney.
I also liked Emmanuel Balboa's "Alay," with its tableau of prey and predator, in a folksy comedy of manners, showing his trademark feline characters.
Honorable mention went to Jojit Solano's "Ang Ikalawang Anyo ni Padre Damaso," with its image of criminals in religious frock; Roel Obemio's "Box Scapes"; Malyn Bonatog's "Ang Pamana ni Inang Inang"; and George Valencia's "Paradise Shift."
The mixed-media category was dominated by new names. First prize went to Lucio Taguiam's "Paupertas," a top view of a slum colony, made from salvaged hubris, encrusted by ubiquitous tires and wires on rooftops as emblems of Third World condition.
Second was Yuan Mor'O Ocampo's "Alipato," a minimalist view of subterranean life, cleverly assembled from painted dried twigs.
Third was Demosthenes Campos' "Divided," a multi-layered suite of worn-out canvases, complete with thin patches of pockmarked iridescent panels.
Honorable-mention citations went to Oriole Palacio's "Untitled," Benjie Bisaya's "Woodmask Series," Christian Mirang's "Sisters in Arms" and Nelson Ferraris' "Crossroads."
As in the past, the sculpture category was generally lackluster, with entries that lacked imagination and logic, and most verging on the sophomoric and the embarrassingly literal.
A judge said: "That's really a problem when artists are dictated by the available material rather than by the idea they aspire to explore and interpret." I couldn't help but agree.
The first prize went to Maximo Chan Jr.'s "Tugatog," a literally figurative piece with a pair of bodies ascending to the top of the recycled wood serving as pedestal/totem pole.
Second was Glenn Cagandahan's "Paul and Silas;" third was Merlito Gepte's "Politics," with a pair of protagonists locked in fierce combat, with a woman draped in Philippine flag, symbolic of how our politicos settle issues, personalan, so they say.
The drawing category enlisted past winners and a few new names, with first prize going to veteran Raymond Libiran for his "Nothing You Can Do That Cannot Be Done," a retablo of dramatis personae culled from all key players of Philippine society.
Second was Christopher Pasco's "Mixed Media" with its cornucopia of artistic tools and appurtenances lovingly rendered in detail. Third was Raul Agner's "Resilience," a ragtag view of Pinoy tykes in various activities, with ethnic decorative motifs surrounding the composition.
Honorable-mention winners: Michael Caraballo's "Rebirth"; Carlos Filart's "Mazebra"; Allan Dennis Santiago's "All Over"; Ma. Yasmin Doctor's "Anatomy"; and Jesusita Blancaflor Macaraeg's "At Standstill."
Photography had only a few entries, but Ronald Limayo's "Tanging Yaman" was a clear standout, with its image of a young girl doing her schoolwork on makeshift bed instead of a table, surrounded by household clutter.
Sam Penaso's "Mall Culture," a satirical look at mall rats, was second, while Lalaine Roxas' "In the Heart of the Image" came in third.
Two honorable-mention citations went to Noel Pama's "One Way, Juan Way" and Pacifico José Jr.'s "Saan Patungo?"
The AAP Annual in December served as the grand climax in a long year devoted to competitions, hosted by the AAP, under its president, Fidel Sarmiento.
The other contests: On-the-Spot Sail Painting; Art Time; Our Time on-the-spot painting competition for a major newspaper; Nature in Abstraction: AAP-Ecca Semi-Annual Competition; and 100 Years Filipino Legacy in Hawaii: Mural Painting Competition.
AAP also took part in exhibits here and abroad. It also toured its project, "Lakbay Sining ---Alay Kulay," in Talisay, Batangas; the Pangasinan State University; and the Gawad Kalinga housing project in Lipa Batangas.
It also organized Sagip Kids for Baseco, with Pfizer Philippines.
It was, in the final reckoning, a memorable, though critical, year for art. The Year of the Pig will be worth celebrating, in grand fashion, with the AAP finally becoming a senior citizen.
May the AAP have a truly fulfilling 60th year!
E-mail author at gdormiendo@yahoo.com
