21st Century in the Philippines from the region.

Elenita Dumlao
living artists in Davao

“Bubbles Up” - Acrylic and mixed 24 inches x 29.5 inches

“The Lily pond” - Acrylic on canvas 7.5 inches x 9.5 inches
“Dive” - Acrylic on canvas 8 inches x 10.5 inches
“School” - Acrylic on canvas 14 inches x 12 inches
“Sayaw” - Acrylic on canvas 34 inches x 46 inches
“Naked at 40” - Acrylic on canvas 11 inches x 8.5 inches
“Naked at 60” - Acrylic on canvas 11 inches x 8.5 inches

Joy Mallari
(born 1966) is a contemporary Filipino painter and visual artist.

"Pasakalye"
"Gigil"
"Kisapmata"
"Hango"
"Kutob"
"Silid"
"Bulong"
"Mangha"
Dr. Abdulmari Imao Sr
first Filipino muslim to be conferred National Artist of the Philippines

Desaparecidos Reappear
Volt in for victory
Getting personal
Method to Memory
Ramon H. Lope (born February 1983) in San Jose, Nueva Ecija, is a Filipino
painter and Indigenouism artist known for using rust as medium for his painting

Jordan Mang-osan was born 21 September 1967 in Acupan, Itogon Benguet) is

a Filipino Indigenouism artist who harnesses the power of the
He uses a magnifying glass to concentrate heat on select areas where he can
burn drawings onto wooden boards

Elenita Dumlao belongs to a special breed of artist who uses dynamic

colors and varied medium to create unique vision of the world.

Her colors are bright, often indecent, tropical even.

Her images, although often inspired by recognizable, biomorphic forms, are
less reflection of nature than revelation drawn from her mind’s eye.

Unlike many of her more dystopian contemporaries, Dumlao aims to uplift and
inspire.
There is no self-reflexive irony or nihilistic propensity in her work. Rather, her
compositions are euphoric and filled with beauty.

This is an artist who is happy to be alive and Wishes to share that feeling with
her viewers. Although she will occasionally employ symbol or archetypes,
Dumlao’s work do not come as being particularly symbolic or overtly
metaphorical.

A more apt description might be that they represent emotionally distillations;

Simultaneously sensual and metaphysical.

Dumlao’s images are not simple or reductive:

They embody a detailed intricate, spiritual apprehension of the world. Neither
fully abstract, nor purely figurative, she balances these two qualities of
expression in an out pouring of pure joy.
 
Artist’s Statement
I am from Mindanao. My inspiration comes from its rich cultural heritage and
its vibrant present.
The folks, fauna and the unspoiled environment almost always initiate
creativity. Random sensory experiences transmit impulses to stored memories
relating , en-kindling and initiating the flow of artistic expression.
“Each of my work is an expression of how I feel and think about my world.
Each contains a part of my mind heart, soul”.

“Bubbles Up”Acrylic and mixed

24 inches x 29.5 inches
Dr. Abdulmari Imao Sr., the first Filipino muslim to be conferred
National Artist of the Philippines, Toym is a Fulbright Scholar with a Master’s
Degree in Fine Arts from Rinehart School of Sculpture at the Maryland
Institute College of Art in the United States where he studied the subject “The
Visual Culture of the Holocaust.” He was recognized with the Gawad Patnubay
ng Sining at Kalinangan from the City of Manila and the Gawad Parangal para
sa Sining, sa Larangan ng Eskultura by Quezon City. For all his achievements,
it is Imao’s works that speak best for him.

Desaparecidos Reappear
With ‘Desaparecidos,’ the
sculptural installation at the
Bantayog ng mga Bayani
Memorial Center in Diliman,
Quezon City that remembers the
victims of the Marcos
dictatorship, Imao successfully
memorializes absence. “I knew
when I was conceptualizing
‘Desaparecidos’ that it would not
be a literal in its imagery. And, as with my other works, that there will be
several layers of visual metaphors to deliver the narrative beyond the literal,”
he notes, adding, “We timed the exhibition of ‘Desaparecidos’ in September
2015, 43 years after the declaration of Martial Law, thus, the 43 figures.”
“I was inspired by photos of concerned individuals holding up pictures of their
lost loved ones during rallies, especially on the International Day of the
Disappeared. Visually, I depict their disappearance through the empty picture
frames. Symbolically, the empty frames are niches, similar to the recesses
where dead bodies are placed in morgues. Metaphorically, the empty picture
frames, clasped between the chest and the abdominal cavity represent the lost
that those who were left behind are feeling.”
“When you look through the empty frame, you will either see more empty
picture frames or the faces of the sculptures behind. When there is a big enough
space to go around the sculptures, it is also possible to see your own face or the
faces of other viewers being framed by the squares, indicating you or me, can
also be victims,” explains Imao.

Volt in for
victory
In absolute contrast to
‘Desaparecidos,’ his
sculptural series ‘San Voltes
V’ and ‘San Mazinger Z’
irreverently bastardizes the
Philippines’ devotion to
Roman Catholic saints with
Marcos’ egocentric portrayal
of himself with his gigantic
bust in Tuba, Bueguet
(demolished by communist
rebels in 2002) and his generation’s fascination with Japanese animation
television series about giant robots such as Voltes V and Mazinger Z,
consequently censored by the Marcos regime.
The impetus to make the Voltes V and Mazinger Z installations came from my
realization that many in the younger generation (some of the older, too) believe
that the Marcos years were golden years. Social media made it easy for the
Marcoses and their supporters to spread well-crafted yet misleading videos and
articles proclaiming the former dictator as the best president the country ever
had. While the anime-inspired installations also dealt with the narratives of
Martial Law, they were steeped with ‘playful’ and colorful details, as they
featured the excesses and extravagance of the Martial Law years. These
attracted audiences who posted photos of the works in social media, raising
awareness and at the same time, providing venues for discussions about martial
law,” he explains.
Getting personal
Equally eloquent is Imao’s
sculpture ‘Head of State’
where two headless figures
hold the iconic ballot boxes
that used in the fraudulent
snap elections of of 1986 that
proceed peaceful People
Power Revolt that same year
that ousted Marcos. Inside
each ballot box is the each
figure’s own head.
To Imao, his work for
memorials on the victims of
the Marcos dictatorship are
deeply personal. “It pains me to visit the graves of two people very dear to me
at the Libingan ng mga Bayani—my father [National Artist for Sculpture] Dr.
Abdulmari Imao Sr. and [National Artist for Literature] Dr. Alejandro Roces—
and see, around 200 meters away, the heavily guarded tomb of the late dictator
Ferdinand E. Marcos. They pulled one of the highest forms of institutional
historical revisionism on us last year,” he confides.

We had family friends who disappeared during the tumultuous martial law
years. I still see their families from time to time and the loss of their loved ones
is still an open wound,” recalls Imao, and further reveals, “My family was in
the opposition in the 1970s. One of my beloved mentors, Dr. Alejandro Roces,
was a big part of my political awakening since he was a part of the first large-
scale organized opposition against the dictatorship. My father’s family in
Mindanao also suffered losses during the martial law era. A few who survived
the Burning of Jolo in 1974 joined the MNLF [Moro National Liberation
Front]. I had an uncle who was shot and killed in Zamboanga by government
soldiers, and he was not even part of the rebellious side of the family.”

Method to Memory
Those designing memorials
have much to learn from Imao.
He cautions, “While I love
working on historical
commissions, it is limiting in
the sense that you are bound
by your clients’ historical, and
sometimes, creative sensibilities. Usually, they want something safe or non-
controversial. There were also times when I feel a monument is just a glorified
grave marker or merely a ribbon-cutting opportunity. That is why I also try to
make art installations that on which I have full artistic and creative control.”

Joy Mallari (born 1966) is a contemporary Filipino painter and visual artist.
Mallari is known for a visual style similar to the contemporary Filipino
figurative expressionism common among members of the Grupong Salimpusa
and Sanggawa art movements, but distinguished by a narrative approach which
one critic has described as exploring "the linkages between literature and art" -
an approach which she attributes to her exposure to the pre-digital animation
industry during her developmental years as an artist.
She is also known for exploring themes of identity and marginalization in
Philippine society.
The children's book "Doll Eyes", which she co-created with writer Eline
Santos, won the National Children's Book Award in 2011.

Education and Influences

Early influences
Mallari cites her childhood years during the Philippines' Martial Law Period
and the tumultuous period following the removal of the Marcos administration
as formative experiences which had given her a need to engage and participate
in society through her art by the time she started taking up her bachelor's degree
at University of the Philippines Diliman's College of Fine Arts. At UP, Mallari
became part of Grupong Salingpusa, a group of young student artists which
would later become significant voices in the Philippine contemporary art
movement, including such figures as Elmer Borlongan, Karen Flores and
Manny Garibay.

She also became part of Artista ng Bayan (ABAY), a volunteer group that
practiced social activism by coming up with the murals and effigies which were
used in street rallies.
A subset of Grupong Salingpusa, consisting of Mallari, Borlongan, Flores,
Mark Justiniani, and Federico Slevert, later came together to form the
Sanggawa Art Collective in 1994.
Animation influence

The death of her mother forced Mallari to take a leave of absence from UP in
order to work full-time and support her family. Borlongan referred her to a
newly opened animation company, where she found herself working on
background animation alongside early pioneers in the Philippine animation
industry, and some of the last generation of Philippine billboard artists. Mallari
would later cite this period as an important learning experience, with the
influence of animation resurfacing in her later works.

Expatriate period and return to the Philippines

In the late '90s, Mallari moved to Los Angeles temporarily, living there for
eight years before she returned to the Philippines in 2006.
According to Mallari, this expatriate period heightened her awareness race
politics and the underrepresentation of minorities in the arts. Upon returning to
the Philippines, Mallari became based in Parañaque City, on the southern part
of the Philippines' National Capital Region.

Shows and significant works

Mallari's works have been featured in exhibitions all over the world, including
Manila, Los Angeles, Denmark, Mexico, Japan, Australia, Singapore and
Malaysia.

Every year, CANVAS (Center for Art, New Ventures, and Sustainable
Development) commissions a Filipino visual artist for a painting that will serve
as the focal point for a children’s book competition. The Romeo Forbes
Children’s Book Initiative calls for children’s stories woven around this
commissioned piece. CANVAS publishes the winning manuscript as a full-
color hardbound volume, fully illustrated by the selected visual artist. The
artist renders the illustrations as full-sized paintings, presented to the public via
an exhibit to coincide with the book’s launch. Since 2006, CANVAS has
published ten books, beginning with The Rocking Horse, created by author
Becky Bravo from a painting by Elmer Borlongan.

In 2008, Eline Santos submitted the competition’s winning entry, Doll

Eyes, inspired by an untitled painting from Joy Mallari. At the third floor space
of the UP Vargas Museum, the 23 paintings that have been incorporated into
the book stand on display in an exhibit that takes its title from the book of the
same name. Doll Eyes tells the story of
a

little girl and her search for her best friend in mystical Quiapo.
Joy has also included another piece not directly related to the story. At the
center of the gallery, she has installed a reaction to the Vargas Museum’s
collection of World War II- era photographs of children. To put together
Waiting Rooms, she reproduced selected photos of little girls and manipulated
them by adding acrylic and oil tints to the images. She then printed chapters
from Alice In Wonderland onto her reproductions.

Ramon H. Lopez (born February 1983) in San Jose, Nueva Ecija, is a

Filipino painter and Indigenouism artist known for using rust as medium for his
painting
Career
 He used indigenous materials such as
rust as his medium. He started to
collect rusting objects from trash
carefully segregating the rust particles
which he uses for his art works. He
decided to become a rust painter and
plans to create more artistic works in
the future. He is assured that his works
will pass the test of times since he puts
top coats in all his works.
He used indigenous materials such as
rust as his medium. He started to
collect rusting objects from trash,
carefully segregating the rust particles which he uses for his art works. He
decided to become a rust painter and plans to create more artistic works in the
future. He is assured that his works will pass the test of times since he puts top
coats in all his works.

Jordan Mang-osan (born 21 September 1967 in Acupan, Itogon

Benguet) is a Filipino Indigenouism artist who harnesses the power of the sun
to create pyrography drawings.Pyrography is the art of decorating wood or
other materials with burn marks.
Mang-osan is an Igorot from the Cordilleras who stays true to his roots by
working with raw indigenous materials and focusing on matters that celebrate
the rich heritage of his people and his country.
He is one of the founders and current president of the Chanum Foundation, an
organization founded in 1996, which aims to create an artist village in the
middle of Baguio City. It has since became a hub for art and a studio for
budding artists all throughout the country.
Career
Mang-osan started his journey with the arts at the age of 19. Using raw
indigenous materials, he produced pieces depicting Cordilleran subjects on
acrylic on canvas, mixed media, pyrography and solar drawing on various
surfaces such as handmade paper and wooden panel.
He uses a magnifying glass to concentrate heat on select areas where he can
burn drawings onto wooden boards. The heat etches darkened lines into the
wood which result in a landscape or an elaborate portrait. He stays with his
family at Bayabas Pico, La Trinidad, Benguet where he continuous to create
unique art pieces while spending time with his family.`

Jordan Mang-osan Solar Pyrography Drawings

Magnifying glasses are fascinating, even more, if you are a kid. I remember
holding them in the sun burning holes on newspapers or trying to singe ants as
they scurried across the ground. Soon I lost interest of the magnifying glass to
new things as I grew up, just like everybody else, but not Jordan Mang-osan,
who hasn't been able to give up his magnifying glass yet. Jordan Mang-osan,
who hails from the mountain province of Cordilleras, in Philippines, uses his
magnifying glass to etch beautiful drawings on the surface of wooden boards.
Drawing inspiration from from the rich cultural traditions of Mt. Provinces,
Mang-osan draws portraits of Philippines’ beautiful rice terraces, his native
people and scenes from their culture.
Mang-osan started his artistic journey at the age of 19 with pieces depicting
Cordilleran subjects using raw indigenous materials on acrylic on canvas,
mixed media, pyrography and solar drawing on various surfaces such as
handmade paper and wooden panel. In 1996, he started to help build Tam –
Awan Village and Chanum Foudation standing as one of its founders with the
aim to create an artist village in the midst of Baguio City which will feature the
culture and way of life of the
highlands.
Mang-osan, who hails from the
mountainous Cordilleras region, has
done numerous solo exhibitions in
the Philippines and abroad, and has
garnered several awards and
recognitions.

What an amazing talent he has!

Other than making his masterpieces,
he is one of the founders and current
president of the Chanum Foundation,
an organization founded in 1996,
which aims to create an artist village
in the middle of Baguio City.
Chanum Foundation has since become a hub for art and a studio for budding
artists all throughout the country.