Culture
WOOD SCULPTORS HIGHLIGHT AN UNCOMMON AND VANISHING RESOURCE
ILOILO CITY—Ilonggo artists made big waves in the 2023 iteration of the Philippine Art Awards. Of the five winners from the Visayas, four are Iloilo-based, including the brothers Tyrone Dave and Jun Orland Espinosa.
Tyrone’s work, Family Tree (5 x 6 feet, inlay on wood), is an ode. “The importance of the family is the main message that my entry intends to convey to viewers. It is my effort to highlight the significance of the family to humanity, and to honor the hardships and struggles of our family,” he says.
Each character in Family Tree is “inlaid in macabre appearance to embrace the emotional epitome of every member of the family, with the parents at the center serving as the heart and mind and the source of the family’s wisdom and empowerment,” says Tyrone, 32. “The overall composition imparts a moral message that a unified family starts at home.”
Jun’s piece, Light Lines (48 x 60 inches, engraved automotive on canvas), shows the artist’s break from conventional forms of artmaking, whether in terms of materials, medium, process, or execution. “My work is aimed at pushing the boundaries of materiality and process in artmaking, and I attained this in Light Lines,” he says.
He employed a combination of approaches to come up with the artwork. He used a body filler, an automotive material, as a medium through multiple layering, then made an engraving using wood sculpturing tools to create textures and images, and completed the piece by burning some areas to generate a rusty shadow effect and reveal the hues of sepia.
The process of engraving and scorching automotive material creates a “light line,” says Jun, 27. The message is that there is beauty and hope beneath the rustic and seemingly ugly surface—a metaphor for hope emerging despite life’s struggles.
Filipino critic, curator and art professor Patrick Flores describes Tyrone’s Family Tree as “an encompassing ecology.” Adds Flores: “Meticulous, attentive, and dedicated to the liveliness of ornament, the scene of the family assumes the form of organisms and their vital parts, perhaps an allusion to the robust flora that make wood, art, and [the] world possible.”
Consequently, “the scene of everyday life that is represented is finally animated by the task of sensitive, diligent making,” Flores says of Jun’s Light Lines. “Exploring the options afforded by the automotive material of the body filler, the artist builds up not only texture but also image.”
The siblings’ artworks are part of the Philippine Art Awards 2023 exhibition of winning pieces at the Yuchengco Museum (RCBC Plaza, Makati), on view until July 30.
Luminaries
Tyrone Dave Espinosa and Jun Orland Espinosa have been luminaries in the Iloilo contemporary art scene for more than a decade. Their wood sculptures are among the most sought-after works in every art exhibit that they participate in.
They are diligent artists who continuously study and experiment to improve their artmaking, as attested to by the awards that they have received through the years. Tyrone gained a special citation for his thought-provoking Nakakabinging Katahimikan or Deafening Silence (wood, 25 x 19 x 12 inches) at the Metrobank Art Design Excellence Award 2021. Jun’s Underneath (wood, 58 x 53 x 58cm x 18kg) merited a special citation in sculpture at the Metrobank Art Design Excellence Award 2022. He was a grand prize winner at the EVM International Arts Awards in 2019 and was shortlisted for the Philippine Art Awards in 2018.
The brothers seem predestined to become brilliant artists by their genetic code. They belong to a family of carpenters, furniture makers and wood carvers. Their craftsmanship in ornamental wood sculpture was their doorway to contemporary art, and their renditions on wood are considered surreal expressionist art.
Jun started as an ornamental wood sculptor at 13, “or even younger,” he says, “through the actual mentorship of our father and uncles, doing wood carvings mostly on furniture, like chairs, tables, cabinets and beds.”
“Our free time as youngsters was spent in the shop in Bacolod City, where we grew up,” he recalls. “During vacations, we would visit our uncles and relatives in Iloilo and work in their shops.”
These experiences honed the brothers’ skills and deepened their appreciation of wood for utilitarian purposes and its potential for art.
Family artisans
Says Tyrone: “The skills that we acquired from the artisans in our family served as the fundamentals of our artmaking. And this is demonstrated by the various techniques that we have applied to our art, like woodcut, engraving, and inlay.”
The intergenerational nature of the siblings’ development is manifested in not only their skills but also their understanding of the tools used. According to Jun, knowing the appropriate tool for a particular piece of wood was something handed over to them.
“The V-cut chisel,” says Tyrone, “is a precious and powerful tool, and this was passed on by our forefathers to our father, and then to us.” Some tools are bespoke and customized for their needs by blacksmiths, who likewise follow intergenerational arrangements and are close to the family.
The brothers consider the tools an inheritance; their familiarity with the tools is shown in their ease in shaping pieces of wood into ornate carvings, jaw-dropping wood mosaics, and award-winning sculptures.
Their works highlight the uncommon and vanishing resource that is wood—and their overarching advocacy. “We try to convey that wood as a material requires respect, and elevating it into art pieces is our way of doing justice to it,” says Tyrone.
This is why the Espinosas ventured beyond ornamental wood sculpture and into contemporary art, making them and their relatives a rarity in the art world today.
Multisensory sculptures
The brothers’ artworks are the type that grab you at first sight and stay with you for a long time. This was demonstrated in their three-man show, Salvaged, in 2018, which they mounted with another decorated wood sculptor, their cousin Jeanroll Ejar.
Salvaged was described by the visiting journalist Thelma Sioson as “a searing commentary of the times—powerful yet not depressing, somewhat social and political yet not clichéd, whimsical, witty and fresh.”
“Given such layers of expressions, the wood sculptures, in this writer’s eyes at least, come out beautiful, not trite,” she said.
Tyrone’s work is “individually powerful,” Sioson said. “They’re carved chains—entangled masses that are intriguing to the beholder simply because they show no beginning or end.”
Jun’s work, alternatively, are “sculptures of wood planks mounted on the walls [that], from afar, seem like random compositions of shapes and textures,” Sioson said. “Upon closer look, however, the viewer gets overwhelmed by what, in fact, they are: collages of heads or parts of faces evoking sounds. The viewer readily sees the screams, without hearing them.”
The strong emotions and deep meaning that are effectively conveyed by the Espinosas’ works are rooted in their multisensory approach to shaping their art and handling wood with veneration, be it a found item like driftwood, salvaged wood from junkyards, or new lumber.
They examine every piece of wood to identify its peculiarity, recognize its genuine characteristics, and understand its origin and variety. They smell it, touch it, to feel its texture and age. This exploration is integral to their artmaking: “It reinforces our skills, craftsmanship, and experience—the foundations of our art,” says Tyrone.
Available material
The Espinosas follow a conscientious art process by prioritizing scraps.
“We make art from available material, even scraps from the shop,” says Tyrone. “We conceptualize our art not just from the physical beauty of the wood, but by examining it, then doing research on it, making art that is connected to the wood’s life.”
Holding driftwood, for instance, the brothers do not cut it right away or make a carving through its natural contours. Rather, they work backwards to understand its subsistence, purpose, and function. They consider understanding the material a crucial step, for it integrates the natural dimension of the material into their art, extending life, if not giving new life, to the wood.
Their practice of converting neglected pieces of wood into sculptures is demonstrated in Jun’s Underneath, which came from salvaged roots that were stored in the shop for a long time. The artwork is a deliberation on life’s tragedies caused by failing health or illness and faith’s restorative ability to create hope.
Studying the appropriate technique for available material is illustrated by Tyrone in his Family Tree: “I used inlay, a technique applied to old furniture, in which a pattern or an outline of an image is carved on the surface of the wood, and then another material of contrasting color is inserted.”
“The inlay is a 17th-century woodworking technique in Europe that made its way to the Philippines and was then used on antique tables, baul (wooden trunks), or chests of drawers,” Tyrone says. “But I innovated on its application for my art. I used resin because of its availability and durability instead of the traditional bones and pearls for inlay.”
The brothers’ experiments are an outcome of their continuous study and expansion of their sphere of learning beyond their architecture background through art residency programs. Tyrone completed the Linangan Amuyong Apprenticeship Program in 2022, and Jun was part of the Eskinita Gallery mentorship program in 2019. The programs broadened their knowledge and allowed them to understand the gamut of issues surrounding art operations and management.
Enduring subjects
Family and faith are enduring subjects in the art of the Espinosas, revealing their strong spiritual life and close family ties. Their art personifies honesty and transparency, as well as courage to reveal their innermost dilemmas and aspirations.
This can be gleaned from Jun’s recent residency exhibit, Beyond Senses, at the Eskinita Art Farm in Tanauan, Batangas, and from Tyrone’s works that serve as a tribute to their parents—Indan (inlay on wood, 61.25 x 49.25 inches) and Medjong (inlay on engraved wood, 5 x 4 feet), on view at the Iloilo Museum of Contemporary Art and Museo Iloilo, respectively.
Declares Tyrone: “Our experience as wood sculptors has taught us that art is a powerful medium for public education, especially if artworks are created with the full understanding of the life, nature, function, and purpose of the materials that are used—like wood, in our case. We employ these values in our artmaking to give new life to wood, with the intention of using art to share meaning and empower viewers.
First published in CoverStory – July 22, 2023
ILOILO CITY—In celebration of Asean Month, Iloilo is presenting a powerful display of Southeast Asian art and the region’s rich artistic heritage.
At the heart of the event is the unveiling of “Connecting Borders: A Collection of Southeast Asian Art” at the Iloilo Museum of Contemporary Art (Ilomoca). The landmark exhibition launched on Aug. 9 trains the spotlight on works from across the Asean (Association of Southeast Asian Nations), and showcases the diverse yet interconnected narratives shaping the region’s identity today.
Top diplomats attended the launch to underscore the spirit of regional solidarity that the exhibition seeks to embody. Among them were Ambassadors to the Philippines Dato’ Malik Melvin Castelino of Malaysia, Constance See of Singapore, and Lai Thai Binh of Vietnam, and Deputy Chief of Mission Victorina Hesti Deway, representing Indonesian Ambassador Agus Widjojo.
From left: deputy Chief of Mission Victorina Hesti Deway, representing Indonesian Ambassador Agus Widjojo; Ambassadors Lai Thai Binh of Vietnam, Constance See of Singapore and Dato’ Malik Melvin Castelino of Malaysia; and Edwin V. Valencia, art collector and benefactor of Ilomoca.
Also present were local leaders, including Iloilo Vice Gov. Nathalie Ann Debuque, Jay Treñas of Iloilo City’s MICE (Meetings, Incentives, Conventions, and Exhibitions) office, former Iloilo Mayor Jerry P. Treñas, and Edwin V. Valencia, art collector and benefactor of Ilomoca.
In her remarks, Cristal Esguerra, curatorial officer of Megaworld Museums, said: “’Connecting Borders’ explores the thematic intersections of culture, identity, and imagination, featuring works from an impressive roster of artists representing Malaysia, Singapore, Indonesia, Thailand, Vietnam, and the Philippines.”
She added: “The exhibit challenges conventional notions of artistic borders—foregrounding the connections that transcend tradition, language, and geography. In doing so, it reflects a broader regional consciousness rooted in collaboration, nuance, and shared humanity.”
The featured artists are Syahbandi Samat, Tajuddin Ismail, SC Shekar, and Ajim Juxta of Malaysia; Denise Jillian Tan of Singapore; and Anton Subiyanto, Roby Dwi Antono, and Taufik Ermas of Indonesia.
Cristal Esguerra, curatorial officer of Megaworld Museums, explains the Southeast Asian countries’ rich, diverse, and interconnected cultural identity.
Thailand is represented by Verapong Sritrakulkitjakarn and Pat Yingcharoen; Vietnam by Hoai Huong, Nguyen Quang Trung, and Bui Van Hoan; and the Philippines by Renz Baluyot, Monica Delgado, Frelan Gonzaga, and Raffy Napay.
“Through this regional gathering of artistic voices, Ilomoca continues to cultivate Iloilo’s cultural character—fostering a space where creative exchange thrives, and contemporary art contributes to a broader, more connected vision for Iloilo’s cultural landscape,” said Ilomoca director Maricel Montero.
Asean Month is celebrated every August in the Philippines to commemorate the founding of Asean on Aug. 8, 1967. The monthlong observance highlights the Philippines’ commitment to regional cooperation, unity, and cultural exchange among Asean member-states.
Through various events and initiatives, Asean Month promotes greater public awareness and appreciation of Southeast Asia’s shared history, identity, and aspirations for inclusive and sustainable development.
First published in CoverStory – August 12, 2025
ILOILO CITY—The artist Marrz Capanang opens “Mga Kalibutan/Realms,” his sixth solo exhibition, today, July 19, at the Iloilo Museum of Contemporary Art.
“Kalibutan,” a Visayan term meaning “world,” “universe,” or “realm of existence,” sets the tone for a collection rooted in mysticism, animism, and cosmology.
Known for weaving the Hiligaynon language with visual poetics, Capanang again blurs the lines between the spiritual and the material, the intimate and the universal. His new show continues his exploration of layered realities and fluid identities, reflecting his roles as artist, collective member, and deeply feeling human being.
“Mga Kalibutan/Realms,” which is steeped in indigenous thought and animist philosophy, comes four months after his acclaimed exhibition in Alabang, titled “Bioluminescence,” and promises a deeper dive into the metaphysical territories that shape his practice.
The artist with one of his works.
It extends a lineage of conceptually rich exhibitions, from “Pangut-angut” (2016) to “Tahud” (2022), building a consistent narrative centered on reverence, connectivity, and transformation. With it, Capanang further affirms his place in contemporary Filipino art, where language, spirit, and image converge.
Nationwide art sale
At SM City Iloilo, the nationwide art sale dubbed “Art for Everyone 2025” is ongoing until July 31.
It is part of the second edition of the “Art Market” in July-October 2024, which featured more than 1,200 Filipino artists and over 4,000 artworks, and won for SM Supermalls the Gold Stevie Award for Innovation in the use of events.
‘Art for Everyone 2025’ exhibition
That exhibit highlighted 13 of Iloilo’s most respected and acclaimed artists and was held at SM City’s Northpoint entrance. It displayed works of Jonathan Arro, Ed Defensor, Vic Fario, Kevin Fernandez, Joy Fernando, Joel Ferraris, Nelson Ferraris, Harry Mark Gonzales, Nick Lanes, Paolo Gabriel Nabor, Vic Nabor, Ariel Pineda, and Querbyn.
“Art for Everyone 2025” provides a platform for both established and emerging artists to present their work to a broader audience for appreciation, education, and patronage. Many of last year’s featured artists are returning with new pieces.
This year, 18 SM Malls nationwide will participate in the program, offering an immersive experience across a variety of artistic media—from paintings and photography to digital art, mixed media, and sculpture.
First published in CoverStory – July 19, 2025
“Halángdon” at the Fine Arts Gallery of the National Museum of the Philippines-Iloilo showcases the profound and multifaceted legacy of National Artist Jerry Elizalde Navarro.
The exhibit demonstrates Navarro’s experimentation in and mastery of sculpture, painting, and a variety of printmaking methods. It embodies a fusion of his modernist sensibilities and evolving style, conveying themes of Asian and Filipino cultural identity.
Born on May 22, 1924, in San Jose de Buenavista, Antique, Jeremias “Jerry” Elizalde Navarro completed his primary and secondary education at San Jose Central School and Antique National High School, respectively. He was affectionately known among family and friends as “Nene” or “Mías.”
“Halángdon” at the Fine Arts Gallery of the National Museum of the Philippines-Iloilo
A mural at the entrance hall of the museum—a reproduction on woven polyethylene of his 1982 oil-on-canvas painting, “Ang Bulawan nga Sadok” (The Golden Salakot), honors his hometown. The original piece is displayed in the lobby area of the Antique Provincial Capitol.
Navarro’s connection to his birthplace is also highlighted by a watercolor-on-paper masterpiece, “San Jose de Buenavista.”
Navarro was a prominent figure in Philippine arts during the 1950s, recognized for his ability to shift from calligraphic and expressionist abstraction to constructivist assemblages and sculptures, owing to his discipline and modernist orientation. The 1960s were considered a blooming period for his modernist work. He passed away on June 10, 1999, and was proclaimed National Artist for Visual Arts on Dec. 1 of the same year.
Influences
The National Artist, Jerry Elizalde Navarro —PHOTO FROM PINOYAUTOBIOGRAPHY.COM
Halángdon offers a visual survey of Navarro’s artistic journey and history, reflecting his education, influences, involvement in local and international art movements, and interactions with Filipino masters, many of whom became National Artists.
He was a Ramon Roces art scholar at the University of the Philippines Manila, but he later transferred to the University of Santo Tomas (UST), where he completed his degree in fine arts in 1951. He was among the top students at UST and served as a columnist, later becoming the art editor, of The Varsitarian, its official student publication and considered one of the oldest student publications in the country.
Navarro transferred to UST to meet his childhood idol, Carlos “Botong” Francisco, who later became a National Artist for Painting. He refined his skills under Francisco’s mentorship, studying alongside eminent artists of the time, including Victorio Edades, Diosdado Lorenzo, Alejandro Celis, Bonifacio Cristobal, and Francesco Monti. His brushstrokes, techniques, and color palettes clearly reflect the influence of these masters, yet his studies and innovative approaches led to breakthroughs, shaping a style uniquely his.
In addition to his academic pursuits, Navarro worked as an illustrator in the Roces publishing network, collaborating with other major figures in Philippine art history, such as Iloilo-born Romeo Tabuena and Vicente Manansala, also a National Artist for Painting. The modernist styles of both Tabuena and Manansala likely influenced his evolution into neorealism, as demonstrated through abstraction, cubism, and distorted figurative art and sculptures.
A pivotal chapter in Navarro’s artistic development came with his travels to Indonesia, where he became a resident artist along with Cornelius Choy in Ubud, Bali, from 1987 to 1997. This decade-long sojourn led to a series of works that celebrate Balinese culture and landscape.
All these experiences with the greats of Philippine art significantly impacted his artistic life and work, leading him to reflect on subjects such as geopolitics, socioeconomic realities, and the struggles of daily life. He mirrored these themes between Bali and his home country, leaving a distinctive imprint of his artistic vision.
Comprehensive survey
“Musicians” (untitled)
The exhibition at the Fine Arts Gallery in Iloilo serves as a comprehensive survey of Navarro’s body of work, showcasing paintings, prints, and sculptures that span his artistic career.
Among the featured prints are rare pieces, mostly untitled and undated, drawn from the personal portfolio of Navarro’s wife, Emma Navarro, as well as contributions from Pearl Navarro and Dora C. Afable—gifts to the National Fine Arts Collection of the National Museum. Selected pieces, such as “Inveterate Conversationalist,” “The Women I Knew,” “Meow Woman,” “Mechanical Installation,” “Caliraya Moon,” and “The Bali Woman,” reflect his deep memories of Ubud, Bali, and his engagement with the world around him.
Navarro’s proficiency in and mastery of printmaking techniques—including woodcut, serigraphy, and steel plate—are evident in works such as “Musicians” (51/188, circa 1960s), “Igorot and Muslim,” and “Harana.” Copperplate or steel plate printing is considered one of the most challenging methods in printmaking, and his skill in it is undeniable. An engraving plate displayed in a glass case at the exhibition showcases his precision and technical prowess in intaglio printing.
Mixed media on paper collection
In addition to his printmaking, Navarro’s early exposure to European modernist art is reflected in works like “Untitled 1” and “Untitled 2,” two mixed-media pieces on paper that feature his distinctive calligraphic style. The sharp, gestural brushstrokes and vibrant colors of these pieces reveal a Japanese influence stemming from his travels to Japan in the late 1950s. This influence is further made evident in his piece “Sunday at the Park” (acrylic on canvas, December 1994), which exemplifies modernist aesthetics through the bold use of color and form, creating dynamic compositions that evoke both emotion and movement.
Navarro’s works also contain political commentary. In two collages on paper, “Don’t Mess With These Guys” and “Time To Orbit” (1969), he addresses sociopolitical issues, offering a stark critique of his time. Despite being created over five decades ago, these works remain relevant today, resonating with the current political and social climate, and showcasing the timelessness of his artistic vision.
Constructivism
“Desaparecidos”
One of the defining aspects of Navarro’s career is his exploration of constructivism, an art movement that emerged in 1915. This exploration is vividly embodied in Desaparecidos (bronze, 1996), a three-dimensional piece that invites viewers to engage with themes of form, space, and political commentary. The artwork captures a dynamic interaction between structure and movement, as well as a delicate balance of fluidity and tension.
Beyond its formal elements, Desaparecidos conveys a poignant message addressing the issue of missing persons. This could be interpreted as a reflection on the disappearances of Filipino activists and youth leaders during the martial law era under Ferdinand Marcos Sr. or as a tribute to those who vanished without resolution in the aftermath of the Edsa People Power uprising a decade later.
Assemblages with a constructivist orientation became a hallmark of Navarro’s work, where he highlighted geometric shapes using industrial materials—sometimes even repurposed waste materials like wood and metal—up until his death in 1999.
His innovative creations across various mediums reflect his firm commitment to exploring the intersection of form, material, and meaning. His work transcends traditional boundaries, and his legacy ensures his place as a key figure in Philippine contemporary art, one whose influence continues to inspire generations of artists.
Read more: Rare paintings by Filipino masters on view in Iloilo City
First published in CoverStory – March 3, 2025
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