5\]Hi guys… as you frequently requested we are going to talk about my own criteria

in choosing a national artist and my choice of inidividual to be awarded with this

pretiguous award as I prepare for my get uup for my music video of the song
Kapaligiran

Sooo for my own

CRITERIA

Living artist who have been Filipino citizens for the last FIVE years (instead of 10)
prior to nomination as well as those who have died after the establishment of the
award in 1972 but were Filipino citizens at the time of their death

Artists who have helped build a Filipino sense of nationhood through the content
and form of their works BUT OTHER THAN THIS BUILD A SENSE OF AWARENESS to
Filipinos about the message delivered in the kind of art or style they are pioneering
300000

Artists who have distinguished themselves by pioneering in a mode of creative

expression or style, making an impact NOT JUST ON succeeding generations of artists
BUT EVEN TO THE ORDINARY PEOPLE so that everyone can relate to it and be
inspired by it 30000000

Artists who have created a significant body of works and/or have consistently
displayed excellence in the practice of their art form, enriching artistic expression or
style, 20000

and artists who enjoy broad acceptance through prestigious national and
international recognitions - WAIT WHAT?- OKAY- this is the major thing I want to
change in the criteria of the game…in my own criteria I will not require “popularity”
for an artist….being recognized locally or nationally is fine, AS LONG AS THE
PRODUCTS or your ARTWORKS are worth the time, eyes and ears of the UNIVERSE.
What do I mean with that? Quality over quantity, quality of the artwork over
popularity…this is why better artists in terms of quality are not given the award
because they are UNDERRATED. And speaking of underrated artists….let us talk
about Nona Garcia…If I were one of the judges, I would definitely give her this
award. 20000000

=100

Who is Nona Garcia?

Bor n 1978 Manila, the Philippines

Lives and works in Baguio City, the Philippines
Nona Garcia obtained a Bachelor of Fine Arts in Painting at the University of the
Philippines. She has held numerous solo exhibitions in the Philippines
Nona Garcia probes into the essence of things, setting up a dichotomy between the
transparent and concealed, framed and natural, the sublime and the everyday. In
2013, she relocated to mountainous Baguio City in Benguet Province. Since then she
has responded to the immediacy of this landscape, creating large-scale, highly
realistic paintings of scenes viewed in and around her new home. Garcia’s X-ray
works are another key aspect of her practice. Focusing on Cordilleran and indigenous
artifacts, reliquaries of saints, or delicate animal bones designed in the form of a
mandala, she has created installations using lightboxes as well as window-based
works. Paradoxically, the process of exposure results in images that are more
mysterious — bathed in luminescent blue light, each flaw made visible, the bones
and objects take on a new life.
Nona Garcia has also worked with the QAGOMA Children's Art Centre to develop a
project for APT9 Kids

Nona Garcia obtained a Bachelor of Fine Arts in Painting at the University of the
Philippines. She has held numerous solo exhibitions in the Philippines namely Points
of Departure (2007); Planted
Landscapes (2008); Synonyms (2010); Fractures (2010); Somewhere Else (2012)
and Before the Sea (2012). She has also participated in various group exhibitions in
China, Italy, Philippines, Malaysia, Thailand, Singapore, Korea and Japan. She was the
grand prize winner of the Philip Morris Group of Companies ASEAN (Association of
Southeast Asian Nations) Art Award in Singapore (2000). She was a recipient of
the 13 Artists Award in 2003.

Although representation is key in Nona Garcia’s art of stark realism, there are always
moments when looking at her work involves confrontation with what is hidden, a
bout with the indecipherable essence of things. From the illuminated films of sacred
icons in her light boxes to portraits of sitters with their backs turned in her previous
series of paintings, Nona Garcia’s realism is neither simple depiction of an
overwhelming atmosphere nor the combination of particulars, but rather a piercing
search for the essence of reality through isolation and intervention, through
composition and elimination across objects inside the frame, or through mediation
with a device such as an X-ray machine.

Do we really need a title or position to influence other peoples life and to initiate
change?