Hermes Alegre paints the Filipina

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Multi-awarded artist Hermes Alegre is renowned for his women – on canvass that is. His
paintings are mostly beautiful dusky women depicted in a fantasy of foliage. Alegre’s
women are prized and avidly awaited by art collectors, making him one of today’s best-
selling artists.
Pinay beauty
Art critics have described his works as “portrait-like renditions of women with an
uncanny sense of movement.” Looking at his paintings, one gets the impression that the
figures are actually alive. Other words used to describe his women were “seductive”,
“alluring”, “shrouded with a quiet sense of mystery” and “erotic.”

While Alegre is a versatile artist who is also known for his abstracts, women are still his
favorite subjects. “I’m inspired by the beauty and behavior of the Pinay with their dusky
features, pouty lips and their mystical smile,” he explains. In another interview, he further
expounds on his subject of preference. “I can’t escape it. There are so many mothers and
wives, more women to render than men. There’s something about the beauty of women
that you’ll never see in men. And men are not even nice to look at in the first place!”

His dream project, fittingly, is to create “a mural painting for every embassy depicting
Filipina women.”
Career milestones
Alegre has had at least 10 major solo exhibits to his credit, including one major show in
Singapore and group shows in New York, Belgium and Germany. A graduate of Fine
Arts from the Philippine Women’s University, he was recognized as a “Provincial
Treasure Awardee of Daet, Camarines Norte. He has also illustrated three children’s
books.
Despite all the accolades his works has received, what Alegre considers as his greatest
milestone so far is, surprisingly, part of his book illustration work. “I was able to be a
part of a book project for children with National Artist Francisco Arcellana which won
the “National Book Award” for children. It’s the best legacy I could share to my children
and to our kababayans,” he says humbly.
Alegre has indeed gone a long way from his early days when, leaving Bicol to pursue his
studies at PWU, he experienced selling his works dirt-cheap to whoever cared to buy
them. He prefers to be philosophical about those early times. “It was really hard work
because I had to peddle my paintings door to door. But I consider myself lucky because I
was able to experience those hard times. It’s a part of the learning process not only for a
visual artist but also for everyone. It helped me to enhance my art and my craft.”
Returning home
Even though he has made a name for himself in Manila, and even in different parts of the
world, Alegre decided to return to his native Daet to raise his family. He has three kids:
Adanjose 9, Awit, 5, and Malvar, 3. His wife Helena is an artist herself, creating beautiful
hand-crafted jewelry as a hobby. Hermes shares that it is daughter Awit who may have
inherited his talent. “She loves to paint and she’s always hanging out in my studio,” he
says proudly.
He sees life in the province as ideal for his family. “I want my children to experience
a simple way of life. I want them to learn how to value and appreciate the place where
their parents came from. It’s also a nice and healthy place to live in because of the
beaches, mountains and the rivers. These are all serene and very relaxing.”
Alegre’s art likewise finds a positive influence in Daet. He visits Manila twice a month
but confesses that he still feels comfortable and more relaxed working in his Daet studio
with his family. “I feel great and more focused because of the environment,” he says.
There are also plenty of inspirations in his native province. “I often go to the market and
fishing villages to be able to capture the smile and calm gestures of Daetenos. Going
around also helps me come up with good compositions for my painting,” he explains.
A proud Bicolano to the core, Hermes Alegre has this to say to aspiring artists in the
region: “Just stay focused and consistent with your art. And be proud you are Oragon.”
table.MsoNormalTable { font-size: 10pt; font-family: “Times New Roman”; }
Multi-awarded artist Hermes Alegre is renowned for his women – on canvass that is. His
paintings are mostly beautiful dusky women depicted in a fantasy of foliage. Alegre’s
women are prized and avidly awaited by art collectors, making him one of today’s best-
selling artists.
Pinay beauty
Art critics have described his works as “portrait-like renditions of women with an
uncanny sense of movement.” Looking at his paintings, one gets the impression that the
figures are actually alive. Other words used to describe his women were “seductive”,
“alluring”, “shrouded with a quiet sense of mystery” and “erotic.”
While Alegre is a versatile artist who is also known for his abstracts, women are still his
favorite subjects. “I’m inspired by the beauty and behavior of the Pinay with their dusky
features, pouty lips and their mystical smile,” he explains. In another interview, he further
expounds on his subject of preference. “I can’t escape it. There are so many mothers and
wives, more women to render than men. There’s something about the beauty of women
that you’ll never see in men. And men are not even nice to look at in the first place!”

His dream project, fittingly, is to create “a mural painting for every embassy depicting
Filipina women.”
Career milestones
Alegre has had at least 10 major solo exhibits to his credit, including one major show in
Singapore and group shows in New York, Belgium and Germany. A graduate of Fine
Arts from the Philippine Women’s University, he was recognized as a “Provincial
Treasure Awardee of Daet, Camarines Norte. He has also illustrated three children’s
books.
Despite all the accolades his works has received, what Alegre considers as his greatest
milestone so far is, surprisingly, part of his book illustration work. “I was able to be a
part of a book project for children with National Artist Francisco Arcellana which won
the “National Book Award” for children. It’s the best legacy I could share to my children
and to our kababayans,” he says humbly.
Alegre has indeed gone a long way from his early days when, leaving Bicol to pursue his
studies at PWU, he experienced selling his works dirt-cheap to whoever cared to buy
them. He prefers to be philosophical about those early times. “It was really hard work
because I had to peddle my paintings door to door. But I consider myself lucky because I
was able to experience those hard times. It’s a part of the learning process not only for a
visual artist but also for everyone. It helped me to enhance my art and my craft.”
Returning home
Even though he has made a name for himself in Manila, and even in different parts of the
world, Alegre decided to return to his native Daet to raise his family. He has three kids:
Adanjose 9, Awit, 5, and Malvar, 3. His wife Helena is an artist herself, creating beautiful
hand-crafted jewelry as a hobby. Hermes shares that it is daughter Awit who may have
inherited his talent. “She loves to paint and she’s always hanging out in my studio,” he
says proudly.
He sees life in the province as ideal for his family. “I want my children to experience
a simple way of life. I want them to learn how to value and appreciate the place where
their parents came from. It’s also a nice and healthy place to live in because of the
beaches, mountains and the rivers. These are all serene and very relaxing.”
Alegre’s art likewise finds a positive influence in Daet. He visits Manila twice a month
but confesses that he still feels comfortable and more relaxed working in his Daet studio
with his family. “I feel great and more focused because of the environment,” he says.
There are also plenty of inspirations in his native province. “I often go to the market and
fishing villages to be able to capture the smile and calm gestures of Daetenos. Going
around also helps me come up with good compositions for my painting,” he explains.
A proud Bicolano to the core, Hermes Alegre has this to say to aspiring artists in the
region: “Just stay focused and consistent with your art. And be proud you are Oragon.”

THE CURRENCIES OF LIGHT AND AIR

A review of Romualdo Rommel Perez’s “Tindero” series
by: Dennis B. Gonzaga, The 416 Art Space.
TRANSACTIONS OF TIME IN A SPACE-BOUND FORM
In the Japanese contemplation of wabi-sabi, emphasis is given on the impermanence of
things. A thing is beautiful because its existence is fleeting and because it flows freely
with the passage of time.
Time usually is a difficult element to accommodate in any critique of the Visual Arts.
The language of the Visual Arts is space. Its techniques, its disciplines, its stylistic
themes, and its forms are typically manifested within the spatial bounds of length, height,
and depth. Images are indelibly frozen within the confines of a canvas, a film, or a
blueprint. They are immortalized in platforms of permanence where time has no claim.
This apparent incompatibility found resolution in the traditional ink wash paintings
common in East Asian art. The austerity of colors and the swiftness of the strokes,
combined with a refined understanding of how light interacts with surfaces and terrains,
expresses a profound meditation on the natural flow of time.
The Impressionists were also able to close this apparent gap between the space-bound
nature of the visual arts and the linear progression of time. By choosing subjects en plein
air and by emphasizing the shifting qualities of ambient light, they introduced the idea of
paintings as organic extensions of reality rather than just being arbitrarily embellished
conjectures. The Impressionists resisted idealized and curated representations of the
world. Instead, they became true witnesses to the raw and spontaneous unfolding of
reality.
Impressionism itself drew inspiration from the literati paintings of East Asia, through the
Japanese sumi-e and ukiyo-e. The delicateness of Japanese black ink washes and the
unorthodox angles and “snapshot” techniques of woodblock art prints are evident in most
Impressionist works.
PEREZ’S MARKETPLACE OF VISAGES
These creative postulations are apparent in Perez’s “Tindero” series. In addition, his use
of watercolor—one of the hardest mediums to master—and his choice of subject adds
layers of discourse to his current body of work.
The palpability and ubiquity of his subject matter is a source of both nostalgic delight and
critical inquiry. He recreates his milieu, his homeland, through its unheralded
gatekeepers: street vendors. Perez highlights the peripheries of our urban sensibilities.
His series discards the monoliths and monuments that constantly loom over our
perceptions and impressions. Instead, he pays tribute to the margins, to the mundane.
Here lies the primary strength and quality of his “Tindero” series. His subtle palette and
brushstrokes are appropriate in that they do not overpower the deeper elements of his
discourse. Perez exercises a deft restraint in choosing which visual elements to emphasize
and which ones are to be relegated into compositional ambience.
A scrutiny of his preferred subjects also reveals an important point: Perez depicts
ambulant vendors rather than stall-based traders. He renders an elderly taho vendor in a
brief respite, sorbeteros whose ubiquitous presences are defined by the distinct shape of
their carts, a cigarette vendor cradling his wooden box as if it were an infant, an old
woman selling scapulars and rosary beads amidst a crowd of apathetic church-goers, and
other similar images of informal merchants surviving along the cracks of the urban
terrain. In a sense, Perez expresses movement and urgency. He is both sympathetic and
blunt in his appropriation of his source material.
His characters are slightly off-center, suggesting passage and outcome. His washes reflect
the vitality of impermanence and uncertainty. His utility of ambient light captures the
precariousness of the human condition. He challenges the viewer to see past the
imprimatur of propriety and pay closer attention to the grit and the grime that fuels the
very heart of his city.
Perez’s renderings are never stationary. Even when they are depicted in their moments of
respite, his vendors are always in the midst of activity. Perez relies on subtle
disproportions and dynamic points of view to constantly remind us that the flow of time
is a central theme in his works.
THE CURRENCY OF THE CRAFT
Similar to his subjects, Perez peddles his craftsmanship with a unique blend of kinesis
and precision. He carefully plans his light source and moderates his brush strokes to
suggest motion. He showcases control and comprehension of the medium.
He understands the nuances of watercolor. Instead of following contemporary trends that
emphasize static photorealism, Perez allows his watercolor washes to flow freely. He
carefully selects which elements require detail and precision and lets the rest of the
medium settle into its natural state.
In “Induljencia”, Perez plays with asymmetries, contrasts, textures, and washes to
showcase the flurry of a crowd. The elderly vendor is painted vividly. In contrast, the
passing crowd is rendered in soft and muted washes. Aside from creating the illusion of
depth, the composition highlights pace—the briskness of the crowd is a sharp contrast to
the lethargy and disquiet of the vendor whose wares remain unsold. The palette also
succeeds in conveying atmosphere. Watercolor typically expresses a cooler ambiance.
But Perez is able to use the medium to convey a sense of humidity.
In “Mga Lobo ni Lolo”, Perez lets his watercolor flow freely. His palette and composition
are limited, perhaps by design. His background is a cascading nebula serving only to
enhance the detailed craftsmanship he commits to the central character. He lets the
element of light fill in the rest of the compositional space. The same effect is evident in
“Naghihintay, Pamaypay” and “Mr. Takatak.”
CONCLUSION
Although Perez works with a variety of pigments which include oil and acrylic, his
creative statement and vision are more pronounced in watercolor. In terms of visual
signature, he is able to showcase the refinement of traditional impressionistic plein air
techniques combined with a reserved trace of neo-realism.
His “Tindero” series is a well-articulated body of work that not only reveals his identity
and maturity as a visual artist, but also showcases his capacity as a cultural worker. He is
both painter and social commentator. He has the potential to be an artist at the
peripheries, capturing transient images of the marginal and the marginalized and bringing
these to the consciousness of the privileged center.

(May 14th) Galerie De Las Islas presents “SINCO BICOLANOS”

Galerie De Las Islas presents “SINCO BICOLANOS,” the new group exhibit of five
Bicolano artists opening on May 14, 2016. Sinco Bicolanos marks their maiden
exhibition at Galeria de las Islas, third floor, Silahis Center, 744 Gen. Luna St.,
Intramuros, Manila.
Participating artists are Dr. Elden Lumaniog, Hermel Alejandro, Jun Tivi, Richard La
Torre Perez and Roderick “Akong” Imperio. Opening cocktails reception will be at
4:00pm and will run from May 14 to May 30, 2016.
This group of Filipino artists hails from different parts of the Bicol region. Their painting
has made their lives like a masterpiece inspired by the magnificence of life’s color and
genres of depiction of everyday living and even drama of the past.
B U R S T I N G with great excitement into their undamaged time-warp carrying load of
bountiful thoughts of arts in their canvases is going to showcase an art must see. They tell
the story of the Bicolano arts and heritage is the time-trend capsule that thrives in the
hearts of these artists and per se another cultural melting pot to enrich knowledge of the
local cultural “The Uragon” identity.
“SINCO BICOLANOS” will be available for press interviews during the exhibit from
May 14th; interested journalists, please contact Dr. Elden
Lumaniog at eldenlumaniog2016@gmail.com to make an appointment.
Dr. Elden Lumaniog
Dr. Elden Lumaniog specializes not only in the art of medicine, but also has a firm hand
in the arena of real artistic talents. In Dr. Lumaniog’s artistic expression, it is intrinsically
a process of sharing emotions to enchant the viewer. His art advocates discovery, study,
documentation & preservation of our rich cultural heritage. (READ: Dr. Elden
Lumaniog: The Colors of His Life)

Philippines traditional artifacts and cultural crafts

lapilipinas (66) in traditional
 Unity and diversity in art and culture can be seen in the folk arts of Asia where the works
of Filipino artists look like the work of folk artists in nearby Indonesia, Thailand,
Malaysia and China.
Some tourist said, "It is surprising that their work also look like the work of folk artists in
Mexico, Nepal, Alaska and other distant lands."
The works of folk artist are alike everywhere in the world. Without seeing, speaking or
knowing each other, folk artists make cloth, baskets, pots and mats that look alike.
Some folk arts in the world, you may compare and note similarities and differences in
their art forms. This will give you a chance to explore indigenous motifs of some
countries. The elegant motifs of ethnic arts and crafts will be given emphasis, recognition
and appreciation.
According to National Commission for Culture and Arts (NCCA) ,
"Cultural Identity is essential to every society. The art and culture of a people represent
the sum total of a nation's history and civilization. A nation is only great as its culture,
while its true image and soul is reflected in its art."

Ceramic key chains

Products include elegant vases (PhP50-250), ash trays (PkP50-100), pencil holders
(PhP35-60), miniature jars cut and holed to become candle holders (PhP50-65)and
aromatherapy burners (PhP65-300), key-chains (PhP10), ref magnets (PhP35), candle
holders, decorative wind-chimes featuring butterflies and flowers (PhP75) and lamp
shades (PhP65-150). Coffee mugs and tea cups are made-to-order.
The ceramics from Tiwi, because of its improved quality and design, is now gradually
being introduced to the world of fashion and interior design. Some ceramic-made
accessories are now being fashioned into accents for bags, curtains and blinds. Ceramic
accents that looked like cookies are used for wall frame products.

Horoscope key chains

While we were in the facility, we met up and chatted with Japanese Ms. Yukiko
Takiguchi, Ms. Chiaki Koyama and 27 year old Mr. Yuji Ueno. Yukiko, who arrived in
Albay early this year, was studying pottery making in the facility. During her training,
she learned the Bicolano dialect. When we arrived, she was assisting Chiaki at molding a
pot at the potter’s wheel, with Yuji, a volunteer by the Japan International Cooperation
Agency (JICA), looking on.

Yukiko and Chiaki at the potters wheel

Yuji, now working with Albay Public Safety and Emergency Management Office
(APSEMO), also teaches students the concept of town watching, a popular activity on
disaster education in Japan. Ueno is also bringing to Bicol the Iza! Kaeru Caravan, a
famous Japanese fun-filled learning workshop and game on DRRM developed by
PlusArts, a Japanese non-profit group, and the Japan Foundation.

Indigenous Arts and Crafts

by Kheem Caparas on January 06, 2014
Photo by Don McCullough of flickr.com

Cloth weaving
One of the most precious living traditions that are still kept until today is weaving.
Originating in the precolonial times, the art of weaving of the Cordillera tribal groups in
the North is still existing despite the threat of the more practical mass production of
cloth. The natives use backstrap loom to produce blankets and articles of clothing.
Piña cloth is also produced in looms throughout the province of Antique. It is a delicate
and exquisite handwoven cloth that is made from the fibers which you can get in the
leaves of pineapple plants. It is popularly used in Barong Tagalog, our traditional
clothes. Having its organic and airy textile, it is becoming more popular now around the
world.
Abaca fiber come from the abaca plant that is endemic and grown in the country. It is
woven chiefly to make sinamay fabric. Abaca is popular in making a rope, specialty
papers like vacuum bags, currency, and tea bags. There are also handcrafts like bags,
furniture, carpets and clothing made of abaca.

Basket weaving
Baskets are mainly used by the Cordilleras for their occupation. They use them as a
storage for their food when they need to go to mountain terraces to cultivate their lands.
A basket is needed for carrying grains, hunting animals, and fishing in the streams.
Baskets made of bamboo become their fish traps; the shape and size of baskets are
according to the kind of fish they want to catch.
Jewelry making
Since the early 16th century, jewelry making in the country has been in existence. It is
believed that the skill of our early Flipino in making jewelry are adopted from their
Asian neighbors like the Chinese.
Jewelry-making is a source of livelihood for the family and it is traditionally a home-
based industry. The government give their support and attention in this industry. By this
support, the country became the top producer of gold.
These are the two major product categories that the fine jewelry industry in the
Philippines are engaged for production:
The first one is the precious metal jewelry, which are made of gold and silver. It can be
in the form of rings, earrings, bracelets, brooches, pendants, necklaces, tie pins, and cuff
links (with or without gemstones). Decorative items like spoons and forks, and office
items such as pen and pen holders are also included in this category.
Another production in the jewelry industry are the pearls, precious stones, and semi-
precious stones. These are unworked or worked pearls. Colored gemstones like emerald,
rubies, and sapphires are also in this group.
Pottery
Pots in the Philippines have different sizes, shapes, and designs. Their designs are
usually geometric with stylized nature motifs. Pottery became more functional as the
time pass by.

Photo by Edgar Alan Zeta-Yap

An example of this is palayok, which is used for cooking. Banga and tapayan are used for
storing liquids. There is also the clay-made stove or "kalan". The making of burnay
pottery in Ilocos Sur is still a lively tradition that continues up to the present.

Woodcarving
Philippine sculpture is the most familiar art form among Filipinos. The most popular
woodcarving in the Philippines are carvings of the anitos (nature gods), santos (saints),
and statues of Christ and the Blessed Mother.
Photo by ~MVI~ of flickr.com

Philippine sculpture have undergone changes in terms of shape, size, and the medium
used.
Filipino tattoos have a rich history, dating back to before the Philippine Islands were
colonized by Spaniards. When Spanish ships first arrived there, they were greeted by the
heavily-tattooed Visayas tribe and they called the islands "La Isla De Los Pintados"
which meant "The Island of the Painted Ones".
In the Philippines, tattoos were seen as a source of accomplishment and rank. Men bore
ink on their chests and heads as signs of their strength as warriors. Women wore detailed
lines on their arms and wrists (Visays and Mindanao tribes) or full chest and arm tattoos
(Luzon mountain tribes) and they were seen as marks of beauty. Most tattoos were
earned through the passage of rites ceremonies, or for accomplishing tasks. The styles
varied depending on the region and tribe that the people came from.
LEAF ART

An elderly woman from Kapangihan (San Francisco), Bulusan was beside me this
morning mass of Palm Sunday standing near the entrance of our church, Saint James the
Greater Parish. I immediately noticed her bouquet of meticulously woven palm leaves.
The weaving technique is a complex form of braiding that differs from the common palm
frond ‘palaspas’ traditionally brought to the church during Palm Sunday celebrations.

The ornate weaving of the coconut leaves created into a beautiful offering that is so rich
in texture and pattern evokes deep devotion from the hands that prepared the palm frond
arrangement for blessings. This is another example of an indigenous leaf art form from
Bulusan purposely done for devotional expressions in religious events.

It is a kind of visual prayer so eloquent and touching, the skill and creativity of the artisan
translated into an art work to show his/her deep faith expresses more fluency than just
merely mumbling the prayers.

Photographs by Alma P. Gamil