One Idea Out of A Hundred

I’ve read a statistic log on the net from a while back. It stated that when you have a new idea, despite believing whole-heartedly in its conceptual originality- you are actually sharing it with over 100 people all around the world.

Yes, according to the study of some American scientists, the population mark today has grown too vast for originality to exist in its purest description. 100 People are having a groundbreaking moment the same as yours as we speak. Amidst all of this discovery, how does one ever get to utilize such a brilliant thought then? Well people believe that among these 100 individuals, 10 of them will be the only ones to actually do something about it. Actions done could either be big or small, but only these 10 people are said to have the initiative to make something happen.

Do you guys really believe that? Ten people have the willpower that 90 do not?

It could also be that perhaps the 90 people aren’t really that interested in the revelation and thus prioritize other things instead. What’s even more puzzling is that among these 10 people, chances are that only one of them will succeed at making the idea into a financial success story.  Given the number of people in the world, I wonder if this discovery is just based on hunches or actual numbers. One out of every hundred people can create change based on a single idea… (I’m not talking about copycats of course.)

Sculpture Within Another Media

Have you ever heard of splash sculptures? I came across several of them while taking my usual rounds on the internet. They certainly are a majestic sight to behold. Water captured in a silenced frame of frozen gravity creates a sculpture unbound by time and physics. This intrepid composition lasts only for a millisecond, but can be held in a picture with the use of modern day technology. Sculpture within photography is truly a reveling combination of artistic ambitions.

The same can be said for mixed media works that bind multiple materials together to form a new class of art. Painters showcase their talent on paper or canvas, but today’s growing art community has many patrons of the new-age “designer toys” which are actually resin or plastic sculptures made and painted by several chosen artists. This trend has taken the world by storm in the past few years. Some works fetch up to thousands of dollars on auctions, gallery sales and showcases. “Designer toys” and their like-minded brands have harnessed the power of combining the art of sculpture with the individuality of painters and creatives around the globe. This hybrid kind of art shifts well to the advantage of catering to the younger and middle generations alike. (Picture: Designer Toy in Paper by Shin Tanaka)

One other interesting media that sculptures can be combined with is digital design. Arriving with the emergence of three dimensional design came the discovery of animation possibilities. Pixar, a ground-breaking company specializing in 3D animation took hold of this trend and developed it into a multi-billion dollar business. They now work with Disney, creating many new and breathtaking movies for us to watch on the big screen. The power of forging media together can be quite awesome. It’s essential for us as artists to always think outside the box and be open to new possibilities and discoveries in our field of passion.

A Short Compostional Portfolio

From the very first marble piece I made, to the numbered series of hand-cast figures, to the design sequence of sculpture jewelry I’m currently planning- I’ve never been more passionate about the field of art than I am today.

In 2006, “Her Elusive” marked my journey’s start into sculpture. The very first sculpture I made took seven different design forms before it was finally accepted into a gallery where it was purchased on the night of the exhibit gala celebration.

By 2007, I had created 4 more pieces including the very first of the “Celestial Series” – different one-off pieces that shared a certain light-hearted motif with each another. This good year also gave me the opportunity to exhibit at the Artasia Gallery with several other renowned sculptors.  We participated in such group shows as Serendipity I, II and Nostalgia.
Later in the year 2009, I joined the National Shell Art Awards as a college senior, which helped me get a good foothold onto public recognition. Being a student at the time, I was new to the ambiance of competitions and remember having to talk myself through the momentum. The awarding helped me create a platform for myself and my art, while keeping me keen on learning and growing by exposing my senses to other sculptors of my generation.

In 2010, The Ateneo Loyola Schools shared with me the honor of the very first LS Award for the Arts in Sculpture. Being one of the great milestones of my life, it wasn’t the only memorable event that the Ateneo bestowed on me that year. The 2010 university graduation was presided over by Fr. Ben Nebres and commencement speaker, Manuel V Pangilinan. My sculpture of the Ateneo eagle: “Soaring” had been reserved by the school to give to MVP as a batch symbol for the school year.

In 2011, I plan to expand my collection into a degree of diverse faucets that could hopefully shake the foundation of sculptural work across the country. Currently managing several near-finished projects, I’m adjusting the timeframe to synchronize events, openings and many more endeavors for the coming year. 2011 will be a great year of progress and growth for myself and many other artists who are now innovating the face of the Philippine art scene.

The Art of Lifecasting

Have you ever wanted to stop time? Freeze a moment of your life? Or just remember yourself forever the way you are now?

A lot of art revolves around the theme of an immortal frame. As human beings, we will inevitably grow old and physically change over time. The best we can possibly do is create remembrances of how we are now, so that the future will have references to view us by accordingly. The most common ways of doing this revolves around the art of photography, however sculpture has its own method as well.

Lifecasting is the process of creating an exact replica of a body or part that a person wishes to remember forever. I came across the notion yesterday while talking to a friend about full body casting. This area of sculpture is truly a human-centered division because the primary motif behind the work is the client himself/herself. We are not dealing with an outside interpretation of somebody, this process moulds a dimensional copy in near-complete accuracy. Unlike abstract sculpture or other forms of expressive art, lifecasting is a more proportionate way to create a remembrance of who we are as individuals. It can serve as a comparable landmark in our own history and become a peg for us to grow and develop into better human beings.

Representational Abstract: A Hybrid Midway Between The Realms of Pure Distortion and Hyper Realism

Representational abstraction begins to be clarified when the viewer can mentally derive a real subject from a non-realistic artscape. The brain recognizes familiar elements in the abstraction that it links to particular memories of things, places or people it has come to know in our tangible reality.

This genre blends the best of both worlds and creates human expression that is a comprehendible novelty, yet original and deviant to the eye. Its hybrid elements fuse perception with worldly relation, while viewers get a medley of true dynamic styles that broaden and deepen the meaning of abstract beauty.

This type of art is a midpoint on a long spectrum of opposing faces. On one side, you have the accuracy and details of hyper realism; photo realistic painting and sculpture that captures particles from reality inch per inch in a flurry of high definition elements. Hyper realism is a trend used by several American and European artists that look to create something with more than just a broad skill set. They seek a refinement in the craft unmatchable in terms of detailed impact. Most of their works are likened to captured scenes of the concrete world; raw images of what the eyes clearly see. Being almost without a hint or trace of elements from a purely man-made fantasy realm, these works are a true test of perfection to the most minute steps of inquiry.

On the other end of the spectrum, exist pure distortion and other abstractive genres such as non-representational abstraction, Dadaism, surrealism and many other similar kinds. Works from these genres specialize in deeper levels of emotive expression using elements never before seen in real life. Some styles bend the rule by exposing viewers to real life elements, but in such a way that their utility and meaning is virtually destroyed and reconstructed in the realm of the artwork. Pure distortion does not capture a scene from reality. It makes up its own scene. It sometimes makes up its own play; a new world where nothing is old, and all is unknown to the mind. The beauty of these artwork types can be found in the interpretation of the audience in deciphering the expressive powers of the artists.

The Dual Values of Art

 Personal Versus Monetary: A Collector’s Dilemma.

When we talk about fine art, there are several indisputable points of criticism usually taken into consideration before purchasing a work. An experienced collector who makes his rounds regularly may often suggest a few “blue chip” names in the art circle: artists that are supposedly the rising stars in international or local social attention; the cream of the crop if one could say so.

Collecting art has its benefits I do believe. My family has been collecting art since the days of the 13 Moderns. We met great pioneers and have collected such lucid works like the puzzle-contoured abstractions of H.R. Ocampo, and the passionate displays of striking color by Jose Joya. From my grandfather, to myself- collecting has been a side hobby perceived in two ways of value; for investment and for personal taste. Both of these two end-values lead to a greater value that I believe most people want to find in art: happiness.

Let me begin by creating a situation I’d like to introduce to you. In this scene, your friend is an esteemed and well-respected gallery curator. He recommends that you purchase works three years in advance from Artist A (which means due to demand, you’d have to wait three years for the piece after a down-payment). You however, have your eyes set on sculptures created by artist B from the neighboring gallery. Your friend gives you inside information that Singaporean auctions reflect highly of artist A and as a newcomer to the world of art, you take the information and hold onto it. You are simply ecstatic to find this “blue chip” opportunity, however in truth you would much rather buy the works of artist B given the same financial value. Artist B just has your taste in the bag to begin with. This common situation can be observed in a lot of places around the art community. Information is the key to monetary success in art investment. Auctions aren’t the only thing out there though. There are other ways of deciphering a good artist’s name, like an artist’s projects with international organizations, his awards and mentions, schools that supported him, ongoing and past exhibits… and so on so forth. You’ll find ways to know which artworks can be in category with this way of thinking, because they are the ones always exhibited at the galleries and always present in communities online and offline. A good test would be to search his name on Google and check up on his background as an artist. The internet is a very useful tool for collectors in modern society.

Treating art like a stock market has its benefits, but is this what the craft is really all about? Is it all for money? I believe not.

This day and age reflects on a fiscal view towards art and design. Society creates a market value much similar to the trading companies or investment corporations that have nothing to do with art. I’m not saying that researching on blue chip art is bad- on the contrary, it’s good. Investment is always a good thing and this case is not an exception, but would you buy a half torn canvas with a smudged up glob of black oil and a roughly carved silhouette of a dead tree to hang in your living room wall? Maybe you would if you were a certain type of collector, but not all of us prefer that specific style of aesthetic value. It’s not always about prices and investments. There is such a thing as personal value as well, and it pays off even greater than the previous kind. Art that soothes the mind can be different from person to person. It boasts therapeutic claims, confidence creation and a good feeling of fulfillment. A better way to put it would be being able to eat your favorite food in a city of mild-mannered restaurants.

So what kind of art are you looking for anyway? You could be one of those business-minded people who spot out the formidably growing names in art society. You could also be one of those down-to-earth people who just love what they love and don’t mind much about what others think.

-But I’ll tell you something as both an artist and a collector.
 

You can find both. ☺ Don’t settle for just one of those values. Go for something that is lasting and worth your hard-earned money, but also gives you a sense of personal fulfillment as a collector. Believe in your taste and use your head to justify it. Sure you may not find that specific combination of traits right away, but the world is a big place. Art that special can only hide from you for very long. If you want to find something valuable to you and valuable to society then you have to search hard, but you’ve always got to keep in mind that what you buy must satisfy the two criteria I talked about above. Never feel like succumbing to a blue-chip society just because someone else says so. Find something of value, but find it within the reach of what you want and what you perceive as fine art.

The fact of the matter is that the truest form of art- is human perception.

Heartseed 8/8 Numbered Editions

Heartseed is a tenderly contoured manifesto cornering a pair of endearing lovers at their deepwell of human warmth. Like the foreground scene of a play lived out by mortal characters, this piece resonates a climactic moment in love's timeless, unbound history. Where most relinquish the intimate thought of a relentless passion over their lifetimes, this sensual couple of simple origins consummates a display of modern day affection on the minuscule stage of each other's captivated gaze.

Succeeding the first numbered figure pieces of Aurora Australis, this intimately modern composition recreates the lasting idea and intertwined emotions of its visually defined predecessor. Moving with a tangible motif inspiration from more recent shapely creations such as Lyric Melodium and Rhapsody, Heartseed bodes the curious mind to shift sight into a certain rhythmic pattern similar to a flowing lullaby that encapsulates the effect of human love on the soul.

What is Hybrid Sculpture?

This is a term I coined in my earlier years of art practice. I refer to my own works as hybrid sculptures because I create them to embody distinct polar opposites in their elemental framework. The inspiration for my personal mannered style comes from both the classical monuments of Greek historical culture and the contemporary distortion of modern day abstractions. I combine the two eras in a medley of complementing natures to draw out some of the best qualities in each. I then merge them together to form a novel concept in my own hybrid framework maintaining those elements unique to both genres. I was inspired by the impact of elemental contrasts to mix and develop these equally enthralling aspects, so that they would be able to usher in a new type of hybridity that one could associate with sculpture.

Using the picturesque white ambience and extensive composition of classical sculptures, I’ve contoured my works with a life-like movement and classic disposition to give them a sense of lasting beauty and story. With respect to the timeless ambience that I draw out from Greek mannerisms and motifs, I also encase each work in a well-crafted veil of contemporary contours. I make use of liquid perception- luring every sensual curve and crevice into the anatomy of my subject. This idea of looking at bodies in a changed state of being gave rise to the water-flow effect I now produce in every sculpture. The combination of opaque classical mood, and curving distortion makes for the total design conceptualization of my bodies of work. This is the point where I coined the pieces as hybrid works of sculptural form, in line with the novelty of inspired combination and creation.

Drawing Inspiration From Other Media

As I’ve narrated before, the art of contemporary sculpture was not the first creative endeavor I gauged my skills with, despite my heartfelt passion for it today. At a very young age, I was that curious kid drawing stick figures in the moist ground of the neighbor’s backyard.

Art was the kind of thing a boy like me could find anywhere- in people, in places, even around the house.  I drew my inspiration from whatever I saw around me.

 Just to show you what I mean, here are some of my earlier works. Floral drawings I did back then already showcased my mannered curvatures and my stylistic tendencies for smooth, unaltered definition. You can click on the pictures to view larger scale versions of my select past works in the different media.

My paintings were abstractions that were more in tune with non-representative themes. They also showcased some forms of curvature, but experimented with concrete textured patterns created from overlapping globs and dabs of acrylic paint.



 

For the most part, painting provided a nice home-hobby for me to preoccupy myself during my early years of highschool.

Photography is another visual hobby I have come to love. Here are a couple of my photos taken with Nikkon Cameras D40X and D70 (simple daylight lighting). Practicing my eye for subject-to-area spatial recognition and finding beautifully angled perspectives gave me a great opportunity to learn from photography.

Most of these lessons I apply today in the realm of sculpture by factoring the multi-angular views and relative environment into the overall composition. Learning to set-up and manage a photography studio also created an advantage for me in showcasing my sculptural works. Currently, my home studio operates at select times for my own use as well as for other mutual endeavors.

Apart from being a true blue sculptor, I am currently also a collector of Philippine fine art. I have managed to find beauty in the works of several friends and colleagues in my pursuit for artistic expression and delight. Aside from the works of my dad; Seb Chua,  I maintain a personal collection of paintings by Jeff Dizon, Aner Sebastian and others of the Manila art scene.

My collection also contains fine works by a good friend; Fred Baldemor, who exhibits with me frequently at the Artasia Gallery. I do also maintain my own personal reserve of eve sculptures for my own home presence. I keep some of my notable works on display at my house, and sometimes exhibit them at non-selling events and shows in the country.

The Art of Contrasting Beauties

A brilliant impact is only seen in contrast to its own opposite. I can say for example
that a certain piece of art has a unique edge that is created by its luster or
reflective nature, because I simply compare it to other works that possess a
more matte or opaque finish. We notice the things that stand out in our
immediate surroundings.

People try to create and innovate based on what
already exists in the world, but art does not always have the same
application. Though it can be seen that some artists develop new styles and techniques to venture far from other renderings and/or mannerisms, there can be some phenomena pre-created in the artwork to make it stand out within itself. The power of contrasting creations is made when the artist makes a world of his own to house the new elements he wants to manifest. An example of this is the play of chiaroscuro; light and dark. In the real world, we can only do so much to hold light in place at different intervals of time, but in the world of artistic media, we can hold it for a limitless moment. We can hold it anywhere from the palm of a subjective hand, to above the wayward clouds in the sky. We can hold time as well, and observe a human interpretation of ceasing it within the realm of the artwork. The ability to make contrast appear becomes an opportunist¹s white canvas to experiment with the extremities of elemental beauty that no one can find in the real world. When you can create a chance to see something- in and against itself and split apart within its own composition, then you have manifested your own impact of a balanced paradox within a piece living through dual natures.

The Sentiment of Couples in Love

I've always liked dreaming up stories about love. These days those dreamt up stories are now real memories. With every beautiful day that comes into my life, I gather the thoughts and insights presented to me by those closest to my heart. I turn those thoughts into my own basis for what real love is, and thus I live by those emotions every day I am alive.

One passionate subject of mine is the portrayal of two lovers unrestrained in affection, emotion and mutual identity. To create a visual depiction of love is in itself a fine challenge often misunderstood. One deals directly with an emotion so deeply rooted in our human history that present understanding might only be a fragment of what the theme truly is. Then again, our present understanding of love or romance is also what defines it the most truthfully, for we are the ones who experience and drive it to the significance it holds in modern day society.

As artists embark on the journey of conveying love as an artwork, they find themselves questioning their own personal stories that revolve around such intimate matters. How does one go about depicting something? He begins to do so by drawing the work, based on the memories embellished into his mind by years of interpersonal existence. Love may be a bond, a friendship, a craving, a sacrifice, all of that which I have mentioned, or even something extensively more. It is a boundless apparition of the spirit spread across identities of human beings to link the meaning of our lives in an order that even we do not always understand.

I create sculptures of couples, and sometimes families, because it is the love that I have seen and felt the most in my years as a person on this earth. Clay as a versatile medium can only do so much to show the manifestation of this divine gift we share with each other through the days, months ,years, and decades we live as human beings. I hope that my pieces can speak through the eyes, which in turn can hopefully deliver a message to the heart. I want man to experience the kind of love that others say only exists in the movies and books of fiction. My statement is one drawn out of belief that whoever wishes for a story to match his dreams, can have one in his lifetime. Love is something that is concrete and reachable, true and attainable. For this reason among many others, I prefer creating my works in the subject of intricate and emotive love. As I find more experiences to complement my own existing story, I believe my art will grow through self-discovery and understanding.

Making Room for The Future

The recent months have been a great experience for many of us at the studio, including myself. Several of my pieces taught me how to create a new warmth and continuity in the clay. The designing process also helped me to find a deeper evolution in terms of my composition and style. The steady development and success of "Aurora Australis"; my first limited edition series of 8, also paved the way to a new pattern of creation in my career as a hybrid sculptor. Australis had a first run of five out of eight identical figures with varying Narra / Mahogany wood bases. In a few months those 5 works made their way into the homes of gallery patrons and collectors alike, allowing me to take pride in the labor and time I spent creating the master mould design. The remaining 3/8 Australis sculptures have not been made yet, but will be a part of my agenda for the coming months of August through October.

On a similar note, now I plan to create more designs for numbered editions of 8 all through the coming months. My next creation "Heartseed" will be unveiled within that timeframe, and other designs (currently on paper) should soon manifest into tangible works as well. I'm very happy and excited for the journey ahead, and I thank everyone that's been supporting me and helping me grow as an artist through the years I've been in this profession. 

The clay creations and studies are my beginnings for newer designs soon to reach the Artasia Gallery and annual upcoming events. My first new-time piece; "Eternity"- a four foot tall cast marble sculpture was displayed at the Manilart 2010 event at SMX. I'm also very happy that Eternity, despite its great scale and massive size, did not daunt the viewers and collectors, and was soon purchased on the second running day of the exhibit.

The Web Gallery

While the team is still focusing on the design aesthetics portion of constructing the online 360 view gallery for sculpture, I'm already pondering on what makes up the optimal level of efficiency for showcasing fine art through internet exhibitions. Today, I've seen several prime websites featuring both art and luxury wares that seem to create a community that encapsulates the public in terms of interaction, revisits and overall design impact. Art.com is a good example, however 3D capabilities aren't much needed for prints and paintings. They possess a framing program that allows you to see your online purchases in different 2D frames just in case you'd like to avail of one. The site framework works very well with their target audience and buyers. Another good practice can be seen by Amara.co.uk, with their simple and attractive layout design that highlights their products and brands in a minimalistic class of elegance. For years, web designers, brand owner and gallery owners alike have been searching for a great balance in the elements of an online gallery. Whether it be for show or for pre-selling, design ought to go hand in hand with back-end programs and user interface efficiency for the entire objective to be prioritized: Attracting a serious audience and keeping them interested in what you do or what you have to show.

This is a crop from the per-piece rotational window design I created. I'm currently assessing its usability features and brainstorming with my team on how to best create a gateway for viewers to openly share in the art culture on the site. We may have some changes, big and small. In the end though, we all believe that this project could change the way people view online sculpture exhibitions as a whole.

Why People Collect Artworks : Tasting Experience

Why does art create a spur of emotions in human beings? How can one expressively relate to the world without words, speech or body language? What does it mean to have a connection to a certain artwork that you find yourself wanting to see more just like it.

Each diversely composed art piece bodes a handfelt, sight-drawn approach to tasting a sense of true human story. Travellers of this sensual road, look to find a curious piece of history; a rare claim to life through the eyes of another.

Through combinations of aesthetic visual gestures, viewers get a walk in the shoes of their favorite artists through these tangible expressions of their inner mind. Art that is truly magnificent embodies the soul and tugs at one's heartstrings with increasing fervor.