In the design world, Antonio “Budji” Layug is like a god, revered by creatives, craftsmen and clients. To his wards, he is the Pygmalion to their Galatea talents. Now “over 40 years old,” as he claims, he is on his second wind as a hyphenate creative.

He celebrates this artistic freedom with a painting exhibit, “Beyond Budji: Enter the Dreamscape,” at the Leon International Gallery. Using acrylic, he presents recurring themes of dancing figures, landscapes and abstract expressionism with more vibrant, albeit frantic, bolder strokes on larger canvases.

“I used the brush in the beginning,” says Layug, who took art lessons in Paris in his youth but started painting in earnest 30 years ago for his own self-discovery. “I didn’t want to repeat myself here. I made my own approach as to how to express my art.”

Layug applies splatters, spats, dashes and dabs of paint across the canvas, quiets the mind for inspiration and mixes and shapes from a tube to produce heavily textured strokes.

Dense layering, discordant lines and the intricate play between figures and background enliven the canvases. The images suggest the rush of the waterfalls, the rhythm of dancers, gaseous formations in minerals and stones, clearings, birds and prophetic subjects such as a tsunami and an explosion.

In “Eye of the Phoenix,” human figures dissolve into the face of the mythical bird. The viewer then begins to detect how the body and landscape melt into the painting.

Layug likens art in a space to jewelry and a fashionable outfit. It adds richness and personality. “Art gives soul to the room. You can have the structure, the space and furniture, but in the end, it’s just design. Artwork encapsulates the totality of the space.”

Design journey

He adds, “I’ve done other things—hair, design, furnishing and spaces. At this point, I’d like to see the other disciplines where I could find self-expression.”

After studying at the Sassoon Academy in London, he became known as the pioneer in precision haircutting in the country. He opened his salon, Budjiwara, which operated from 1972 to 1976.

Between haircut appointments, he traveled around the county and rediscovered the crafts, the beaches, markets and new materials such as bamboo and its versatility as an architectural element in the nipa hut and as an outrigger for a boat. Seeing its potential, he worked with a fisherman who mastered the qualities of the bamboo. They created models for Layug’s streamlined bamboo furniture. Eventually, he received orders from such prestigious stores such as Bloomingdale’s in North America.

In the mid-’90s, Layug opened Budji Living showroom in Makati, which also displayed his flair for landscaping and decorating. He was then invited by the late Rustan’s founder Gliceria Tantoco to design several collections for the store. At the end of the 20th century, Araceli Pinto-Mansor of Center for International Trade Expositions and Missions (Citem), asked him to set up the Philippine representation to the Feria Habitat Valencia, an international furniture show. Layug organized Movement 8, a group of designer-manufacturers who shared the modern Filipino aesthetic.

Layug has been a consultant for Citem and the government in many of trade shows, including the Philippine pavilion at the World Expo 2020 in Dubai.

Quality of life

Today, Layug’s undertakings will now be titled “Beyond Budji.” His latest undertaking is the informal launch of B9, a group of millennials (and some young at heart) in the design field. Unlike Movement 8, which was more personality and product-driven, B9 focuses on collaboration and the total approach to the design.

“I don’t call it a team. They are friends who want to move on to the next level. It’s more spontaneous and freer,” he says. Marc Heinrich Go, an architect and photographer, is one of the main collaborators. One of their first projects is a showroom launch in Mandaluyong which is scheduled midyear.

Layug is still a sought-after consultant for friends and contacts who became allies in their projects.

“The design business is not just about designing spaces. It’s also about relationships. There must be a close collaboration between the client and the designer. It can’t be stressful anymore. That’s why you have to be choosy so you don’t waste precious time. You can focus on the project. It has to be a fulfilling relationship,” he explains.

The exhibit, which runs until May 11, consolidates Layug’s decades of creative exploration. Its title, “Enter the Dreamscape,” reflects his cherished dreams, such as the establishment of a council of design elders who can influence the government and the private sector in building elegant infrastructures.

“As I continue to collaborate with young minds and share my art with fellowmen, I would like to do something for the government. My ultimate goal is to share design and how it can reflect in the everyday life for the rich and the poor. I look forward to creating a community which enhances the quality of life,” he muses.

Wide avenues lined with trees and communities living in harmony with nature are included in that vision. Says Layug, “It comes with the long-term planning of a city and of a country that is forward-looking. It’s been my dream to make the Philippines a beautiful country.” —CONTRIBUTED