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Home » Archives » April 2010
Through meditation, you met not only buddha. God, flowers, falls, gateless gate, rocks, mountain, monks, empty infinite, diwatas, one hand clapping, but you-oneness

JONAHMAR SALVOSA’S SCULPTURAL ‘DOODLES’

April 27, 2010

Jonahmar Salvosa’s sculptural ‘doodles’

By Amadís Ma. Guerrero
Philippine Daily Inquirer

DateFirst Posted 22:05:00 04/26/2010

 

 


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WHEN HE TURNED 50 EIGHT years ago, painter Jonahmar Salvosa, with 25 solo shows behind him, decided to become a sculptor, sculpture being his first love. After all, in his hometown of Calabanga, Camarines Sur, he had a grandfather who was a good carver of santó.

So for the past eight years, he has been fashioning out these works, mostly abstract, wrought-iron bars. The results may be viewed at the Seven Suites Hotel gallery (47 Sumulong Highway, opposite Valley Golf Club, Antipolo City) until May 15.

The recent opening was well-attended, for gallery-owner Annie Guerrero (who named the gallery after the artist) brought in samba dancers.

It started with doodles. Salvosa kept doodling and doodling, drawing and drawing, turning out complicated, free-flowing lines “like somebody was guiding me.” And then voíla: “Aba, I can make this into sculpture.”

Some of the metal came from junk shops, his old house and his old car. “These had an old existing design which was abnormal,” the artist noted. “And it was nice to play around with it. It was easier to bend.”

Because of his Zen orientation, Salvosa strove for simplification: “There were many wires, complicated, so I simplified. Gusto ko malinis [I wanted clean works]. I wanted to remove the cobwebs from my brain. When you meditate, there are many cobwebs.”

For Salvosa is both religious and spiritual. He meditates with incense, and there was a time when he did so he would feel unseen entities around him. But the entities were not bothered by the incense, so he concluded they were good spirits. He also carries with him a powerful prayer to St. Benedict.

Complementing the abstract, wrought-iron works are the religious pieces like the highly textured crucifixes.

“I cannot get away from the crucifix,” the artist observes, because the parish church in Calabanga was near the family home, and he would hear Mass by the side of the church near the sacristy.

The lone figurative sculpture in the exhibit is a 7-ft Mother and Child, meant to be a belen (Nativity scene).

“It’s supposed to be the Holy Family but I left the St. Joseph at home,” Salvosa laughs.

Another ingenious piece is a candelabra (candle-holder), made up of small, wheel-like circles retrieved from the inside of the engine of his old car.

Salvosa’s dream as a reinvented artist (a sculptor) is to create a sculptural Way of the Cross on Butawanan Island off Camarines, a small island without electricity which he inherited from his parents.

 

 

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EL PRADO PROJECT Dialogue with the Masters: Re-interpretations of selected paintings from the Museo Nacional del Prado

April 22, 2010
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The influence of a master’s painting to that of its audience can be overwhelming, especially for contemporary visual artists who looks at the works of old masters as sources of inspiration and creation.  A number of local contemporary artists were invited to create works that interpret or re-visualize selected masterpieces in the collection of Museo Nacional del Prado in Madrid, Spain in the upcoming exhibition at the Ayala Museum, El Prado Project: Dialogue with the Masters. Focusing on the paintings by Diego Velasquez; Francisco Goya, Francisco Zurbaran, and El Greco, a dialogue between new and recent works by Filipino artists with the iconic works in the venerable museum was initiated.

Participating artists include Ambie Abano, Buen Abrigo, Gus Albor, Virgilio Aviado, Pablo Baen Santos, Jun Balasbas, Cesar Caballero, Valeria Cavestany, Kidlat de Guia, Gig de Pio, Ramon Diaz, Ferdinand Doctolero, Igan D’Bayan, Noell El Farol, Isa Lorenzo, Mervy Pueblo, Dan Raralio, Roberto Robles, Maria Victoria “Mav” Rufino, Jose Tence Ruiz, Emmanuel Santos, Jonahmar Salvosa, Gerardo Tan, Steve Tirona, Wire Tuazon, Betsy Westendorp, Carmen Brias Westendorp and select students from the fine arts department of University of the Philippines.

El Prado Project: Dialogue with the Masters is organized in partnership with the Embassy of Spain in collaboration with Museo Nacional del Prado, Spain with the participation of contemporary Spanish and Filipino artists.  Curated by Ken Esguerra, Ayala Museum senior curator and Cesar Caballero, the exhibition opens to the public on April 23.

Curators’ talk is set on May 5, 2010 at the Ground Floor Gallery of Ayala Museum.

The exhibition will run until May 16, 2010. For details and inquiries on this exhibition, please call 757-7117 to 21 local 28 or visit www.ayalamuseum.org.

Ayala Foundation

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