Ramon Orlina’s epiphany

This December,  renowned glass sculptor Ramon Orlina unveils his masterpiece – an eight-foot high image of Our Lady of Caysasay. It was cast in a state-of-the-art foundry in Ayutthaya, Thailand. It is not made of glass. It is made of bronze.

Orlina worked on the statue over four months. The Lady in bronze will be donated to the National Museum under director general Jeremy Barns. The donation is timed with the Dec. 8 celebration of the Solemnity of the Immaculate Concepcion, which coincides with the Feast of Our Lady of Caysasay in Taal, Batangas. Orlina hopes that when the sculpture’s installation is completed and inaugurated by mid-January 2026, it will draw more of the Catholic faithful to the Caysasay Shrine.

Orlina is a native of Taal and a long-time devotee of Our Lady of Caysasay, a miraculous image. For him, the bronze sculpture is divine inspiration plus profound inspiration from his parents, who were strong Marian devotees, especially his mother, Paulina Gahol Orlina, author of the only coffeetable book on Taal. 

The National Museum is doing extensive restoration of the Our Lady of Caysasay in Labac, Taal, a most treasured Batangas heritage site. It sustained significant damage during the 2020 earthquakes. The bronze Orlina will be permanently installed in a contemplative courtyard behind the shrine, part of the cultural heritage of the Archdiocese of Lipa under Archbishop Gilbert A. Garcera.

Orlina has had an epiphany from what he believes was a miraculous experience with the beloved “Birhen ng Caysasay.” He narrates:

“In 2004, on the 50th Anniversary of the Canonical Coronation of Our Lady of Caysasay, her revered image was brought to the Greenbelt Chapel. As a devotee, I had the blessing of being involved in the event. I was busy capturing moments with my Olympus digital camera, and the last photo in the camera taken by my daughter Naesa was a close image of Our Lady.

“Afterward, my family and I went to the food court to eat. In my distraction, I left the camera hanging by its strap on the backrest of a chair. Only later did I realize it was missing. I rushed back, heart pounding and two women told me they had seen a roaming security guard pick up a camera.

“I waited anxiously for the guard to return. When the guard did, he confirmed that a camera had been registered as ‘lost and found.’ He went to the office and returned, holding it behind his back, he quizzed me on the brand. ‘It’s a digital Olympus,’ I replied, ‘and you’ll find a photo of me inside.’ When he turned it on, the first image that appeared on the screen was not of me – but of Our Lady.

“Relief and joy flooded my heart. After signing the logbook, I thanked him and offered a P300 tip for his honesty. I was already several meters away when a sudden impulse made me turn back to ask for his name. He pointed to his name tag. It read: Sampaga. Goosebumps ran through me.

“Clearly, it was no coincidence. In the story of Our Lady’s image found in 1611, she was first seen by two women – seated on a sampaga (jasmine) bush. Just as then, my camera bearing her image was found by two women and returned to me by a man named Sampaga.

“In that moment, I knew this was not chance, but grace – a gentle reminder that Our Lady was watching over me. My heart overflows with gratitude for the countless times she has come to my intercession.

“With this profound experience that strengthened my faith, I felt called to do something more to honor Our Lady and make her miracles known. My mother, a devotee, had tried several times in the early 1980s to stage a musical in Taal for the town fiesta, but each attempt was met with unforeseen obstacles.

“Carrying her unfulfilled dream in my heart, I resolved to bring it to life. I poured all my devotion and creativity into producing a full-scale musical entitled ‘Mapaghimalang Birhen ng Caysasay’ written by Nestor Torre, music by NA Ryan Cayabyab. The role of ‘Haybing’ was played by Coco Laurel and Oggie Alcasid.  It became both a tribute to my mother and an offering to Our Lady.

“When the musical finally premiered at the Cultural Center of the Philippines, it received standing ovations in all seven performances. Each night felt like a testament to divine providence – the realization of a long-cherished dream made possible only through the grace and intercession of Our Lady of Caysasay.”

Ramon Orlina is the pride of the Philippines. Having pioneered in glass sculpture, no one can excel him in this unique art form.

His  trailblazing glass works have inspired artists to explore this difficult medium and follow in Orlina’s footsteps.

Self-taught in glass as an art form, Ramon forged his path through relentless experimentation, innovation and an unwavering commitment to excellence.

His artistic breakthroughs have placed the Philippines on the global glass-art map, earning the admiration of Bohemian glass masters in Europe and studio-glass artists in America.

Now 81, age has not dimmed Orlina’s creative fire.  He continues to push artistic boundaries and exhibits widely.

Last year, he released his 570-page coffeetable book, authored by Cid Reyes, that chronicles a half century of remarkable journey in his exceptional art.

Through Museo Orlina, his private museum in Tagaytay, Ramon brings his work, along with that of both Filipino and international artists, to a broad audience.

Students, in particular, flock to the museum in large numbers, finding inspiration in his artistry and in the vibrant community of creators Orlina supports.

Truly, art is a gift and a divine inspiration. His glass art is not just an expression of faith but of a truly creative – and kind – soul.

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