Apung Juan’s legacy kept alive by son

Who would have thought that inside one of the corner homes in Don Antonio Heights in Quezon City looks like a “mini art gallery” of woodcarving creations of modest but brilliant sculptor Juan Culala Flores, known in the art world as the Maestro, or Apung Juan. There resides his eldest son Daniel who takes care of his father’s remaining masterpieces almost occupying the entire ground floor. The stair landing also doubles as “eskaparate” of the antique 14 ft. tall wood console table with a bachelor mirror.

Now 82, Daniel warmly welcomed us one afternoon to his abode where various images of saints adorned the wall near the entrance gate. He said they were creations of his father’s former protégés in their hometown Betis, Pampanga. Daniel led us to the living room filled with jaw-dropping sight of different artistic creations — each piece carrying an interesting tale. One eye-catcher standing on the floor, which he called Wheel of Fortune, was among the unfinished works of his father. Its every edge seemed flawless but Daniel said that probably Apung Juan had wished to make a final touch being a perfectionist that he was. The hand-carved mirror too large to fit in standard size bedroom exuded glamour even while it was positioned at the most secluded portion of the house.

Although Daniel already lost count of his father’s exact number of creations, his memory remains vivid on how his father was able to hone his talent. He recounted that Apung Juan was born in a fishing village called Paglalabuan (now Sta. Ursula) in the town of Betis in Pampanga. As a young boy, he would dutifully join his father in catching fish day by day in the riverside neighborhood barrio “but he was often bored and he would mold figures in clay to while away the time.”

The gallery features the woodcarving creations of the modest but brilliant artist who was also known in the art world as the Maestro, or Apung Juan.

Clearly, his talent was not into fishing and so when he reached the age of 16, Juan disappeared from the neighborhood. “Nag-layas siya,” Daniel said. “He went to Manila and reached Hidalgo St. where he became an apprentice of Maximo Vicente in his shop. He worked without receiving any salary but free food and shelter.”

There, he learned woodcarving, furniture-making and sculpting, especially the making of “imahen” or “santo.” Eventually, he became the shop foreman and also got the opportunity to work closely with master sculptors like Isabelo Tampingco and Graciano Nepomuceno. When Juan felt he had enough training, he went back to Pampanga and shared his knowledge to train and develop young men interested in woodcarving. He even helped them in starting up their own shop. Thus, blessings also kept on pouring with Juan receiving orders from Manila.

“He made a bust of President Manuel Quezon,” recalled Daniel. “Nasa encyclopedia of Philippine Arts na Quezon also commissioned my father to work on the doors and ceiling of Malacañang Palace. ‘Yung old Kalayaan Hall with wooden chandeliers and floral rosette carvings, ginawa n’ya yun. And when (former First Lady) Imelda stayed there, she also asked Apung Juan to work on other rooms.” The Guest Room of Malacañang, formerly Imelda’s private suite, has Renaissance-style paneling and woodcarving done by Apung Juan. Both the Mindanao Room and Visayas Room also had Apung Juan’s artistic touch.

“Mrs. Marcos got to know my father after his name landed on the front pages of Manila Times and Chronicle, ‘yan ang mga dyaryo kasi nung araw. He was in the news after winning first prize in the sculpting competition in the US in 1972 for making the bust of President (Richard) Nixon. She was impressed with his artworks that she also asked him to work on (interior design of) their house in Batac in 1975. He also carved a figure of San Miguel Archangel for the Marcos house.”

Apung Juan was commissioned to work on the doors and ceiling (above) of Malacañang Palace.

Daniel further shared, “My father also got to work with General (Douglas) MacArthur and (president Dwight) Eisenhower when they were here.”

Apung Juan’s famous works include The Christianization of the Philippines, a woodcarving rendition inspired by his close friend Fernando Amorsolo who created a painting of the same subject; Landing at Leyte, the large-sized figures depicting the return of Gen. MacArthur and his men; the Madonna and Child series, two of which adorned the walls of Daniel’s home; Garden of Eden, which is now worth millions of pesos; St. Jude with the Seven Dragons; and St. Michael versus the Devil.

“He also did religious sculptures for churches like in San Sebastian, then the altar in Forbes and mural in Antipolo. He also carved the entrance of Betis Church.”

Sadly, Apung Juan was not officially declared as a national artist. Daniel said the 1986 People Power Revolution got in the way of his father becoming one that year. “It’s unofficial. He was already paralyzed that year due to a stroke. We were already there (venue) pero si Imelda wala pa, hindi na nakarating. From the time the Marcoses fled to Hawaii, nothing happened, hindi ko na naasikaso until my father died in 1992. When I met President Gloria Arroyo, she told me why I didn’t come to her and tell about it during her term. I said we went to Malacañang about three times pero sa guard pa lang hinaharang na kami hanggang sa hindi ko na naasikaso.”

Daniel said art connoisseurs who are interested to own a piece or two of Apung Juan’s masterpieces are welcome to come to his place since 12 of them are still in his possession.