In the 1960S and ’70s, expressionist icon Juvenal Sansó was inspired by some of the vanishing scenes and landscapes he saw in his beloved Philippines.
Armed with ink and drybrush, Sansó attempted to capture many of the vistas that made him love this country. The scenes of Cavite, Batangas, and Parañaque eventually formed his outstanding series of paintings on paper.
Of particular note are the drybrush paintings of a small bridge in San Dionisio, Parañaque: a charmingly idyllic depiction of a peacefully floating fisherman’s banca against a small bamboo structure.
Of today’s generation, sculptor Michael Cacnio works in a similar vein. His depictions of bridges are tranquil and pleasant representations of a bygone time. Cacnio’s soft figures are lovingly crafted in mid-action poses, capturing that decisive moment.
That both Sansó and Cacnio manage to express this without descending into the excessive sentimentality of genre is a testament to their talent and skills as artists. A close examination of their subjects—wooden bridges, bamboo fish traps, bancas, fishing nets, fishermen—will reveal that both artists can portray the essence of the Filipino common man.
A new exhibit links these two artists of similar approaches through different mediums.
“The Bridge” run at the North Court of Power Plant Mall, Makati City, March 2-6; and Galleria Nicolas, 3/F, Art Space, Glorietta 4, Ayala Center, Makati City, March 7-15. It is organized by Galerie Joaquin. Call 7239418; e-mail [email protected].
