To the unacquainted Western eye, Filipino canvases are awash with color. Filipino subjects are generally positive and upbeat (Perfecto Caingat's "Pineapple Vendors") in comparison to many of their Western counterparts. They're pregnant with bright brilliant colors.
Most of the art this writer observed was in mainstream galleries or in the upper levels of that country's huge SM MegaMall shopping centers. With artistic styles ranging from classical to cartoon comic and or political, a large portion of art works is displayed in corporate museums and line the walls of private offices. Art in the Philippines tends to be like religion in the United States—a very private matter.
Philippine art isn't all cherries and roses. Considering that country's extreme poverty and political turmoil, 1960's American real and pseudo-revolutionaries would easily identify some of the more revolutionary styles. One I call "wild art", two examples being "Overseas Call" by Alfred Esquillo and "Red Tape" by Jesus Genotiva.
Other examples depicting tortured souls, crucified women, and street children in rags begging for food along with grim urban scenes reflect the back-breaking, soul-slaying, grinding poverty of the Philippines. For this and other examples of "Pinoy" (native Filipino) art I suggest Ruth Rosa's definitive Art Philippines: A History 1521-Present.
Philippine art is largely ignored by the larger world. International art lovers and experts shy away from visiting this oft-times very dangerous country and native artists lack funds to promote their art beyond their borders.
Much of Philippine art utilize gimmicks Western artists usually avoid. Their art provides a visual spectacle to viewers. Early Philippine art, at least a large part of it, could be characterized as a combination of Western art with an Asian flavor as many of the country's national and not so national artists honed their talents and techniques abroad at some of the better European and North American art schools.
West Philippine art is less participatory with very walk-in exhibits but it is visually tactile nonetheless. Interactive exhibits are rare but are increasing. Painting is the main medium of the Philippines with wood carving a close second; some award-winning artists are sculptors and installation artists. Arturo Luz's Pasang-Masid and Lamination XXV exhibition pieces come to mind.
Art that would send American viewers, civic, and religious authorities fuming for being too controversial barely make a ripple. Philippine artists can, and oftentimes are, just as audacious and controversial as their European and North American counterparts though Pinoy artists rarely if ever challenge the establishment directly.
The art and artists of the archipelago—as with art universally—reflect whatever cultural milieu they're part of. Philippine art isn't any different.
Contact information for "Art Philippines: A History 1521-Present" is National Book Award winner Ruth Rosa-VP, Production & Publicatio, The Crucible Workshop, 3B, Strata 200, Emerald Av., Ortigas Complex, Pasig, Metro Manila, Philippines.
If readers would like information on Philippine art, the writer would enjoy hearing from you at: vamaxwell@yahoo.com.