It was the time of day when absolutely nothing extraordinary could have taken place. The mood was surly. The sun was high. And the atmosphere felt languid from a cocktail of Halloween bacchanalias that stormed Manila the night before. It literally felt like an Indian summer.
Save for the fact that Young Star gathered an art collective that could bring some poignancy to activate the already poignant surroundings — a painter, a cutout savant, and a furniture designer who made an impression on the art scene several years back.
Liliana Manahan, UP-bred and kin to artist Tats Manahan and Johnny “Mr. M” Manahan, bummed a year post-college, and, as I come to find out, so did artist Ryan Villamael, the Louie Cordero progeny who makes meticulous, almost biological designs out of felt. The two remained softspoken while painter Risa Recio was the spitfire balikabayan artist whose gift of gab could easily match her predilection for colors.
Find out what these three emerging artists had to say about art and why, at the prospect of having to box art in three words, all hell was tempted to break loose.
YOUNG STAR: Tell us a little something about yourselves.
LILIANA MANAHAN: I took up industrial design in UP and I bummed for a year. During that time, I had an exhibit at the Silverlens gallery with ostrich eggs. After that, I went to Cebu to work with Kenneth Cobonpue. I spent a year there then I came back to start my own furniture line.
Best thing you learned from Kenneth Cobonpue?
Perfecting the tiny details.
How about you guys?
RYAN VILLAMAEL: Same — graduated UP, majored in painting, then I assisted Louie Cordero for a year. Kailangan yun sa process ng young artists. I had my first solo show last January.
RISA RECIO: I graduated fine arts in ’07 in upstate New York. 2008 was the (financial) crash in the States. So I came back here and I did the opposite. I submerged myself in art. I had a solo show at the Rico Renzo gallery at LRI plaza.
How would you describe your style?
RYAN: Style is universal — it’s mixed.
LILIANA: I’m still finding it. I’ve been playing around with different materials and processes. Like with painting, there’s a lot of technique involved in making furniture.
Did you always know you wanted to be an artist?
RISA: I wanted to be an architect because my dad’s an architect. But I took liberal arts and discovered painting along the way.
LILIANA: I wanted to be many things — chef, plastic surgeon, designer. Then, I realized I couldn’t do away with drawing.
RYAN: I wanted to be a biologist. Pero I didn’t pay attention to the terminologies. I was attracted to the images.
What or who is your Sabel?
RYAN: Biology and pop culture.
RISA: Paint itself. I’m a painter about paint. People always ask me what my paintings are about? I tell ‘em it’s about f***ing paint.
Ryan, I see a lot of symmetry in your work as part of the process. Is there anything you’d like to create outside of symmetry?
RYAN: Marami pang plano for my work. Whatever would lead me to my next show.
RISA: Can we collaborate? I’ll give you a painting then you can cut it up.
RYAN: Pwede. (Laughs)
Risa, you were a jewelry designer at some point?
RISA: Artists go through dry spells. Sometimes, you can’t book a show. Like you’d go through half a year and you won’t hear from anyone. Making jewelry was my racket.
Who are your role models?
LILIANA: Kenneth Cobonpue and also my parents. My dad started out in art history. He has a lot of influence over my work.
RISA: My dad, just the way he conducts himself professionally and his integrity as an artist and as an architect. You don’t allow yourself to be abused or taken advantage of by buyers or galleries.
RYAN: Louie Cordero. Yung discipline niya sa work, yung puyat, yung yosi, everything.
If you were to make a self-portrait of yourselves using your current medium, what would it look like?
RISA: I’d cover myself in paint while naked and just roll around the canvas. That would be a dream.
LILIANA: I’d probably make it out of wood. Veneer. Like on a floor. Then my face would be on a ceiling.
RYAN: Mega structure na cut-out. Building-sized pero hand-cut.
Art in three words?
RISA: We don’t like this question. It’s too boxy.
Finally, what is the message?
RISA: Medium is the message, especially since I paint about paint. And also, I just want to say that good Filipino art doesn’t have to be scary, or shocking, or sad, or angry.
LILIANA: I just want to show that we’ve got game here.