Art+ Magazine was privileged to see a private collection that includes contemporary art by Jose John Santos III, Pam Yan-Santos, Rodel Tapaya, Marina Cruz, Elmer Borlongan, Louie Cordero, Roby Dwi Antono, Marc Aran Reyes, Mark Valenzuela, and more.

Written by Jewel Chuaunsu
June 15, 2023

The collector has always been interested in art and would often visit museums during his travels. When his new house was built in 2005, he wanted to fill the blank walls with artworks, starting with two paintings that had been gifted to him—a Kiukok and a Malang. Shocked at how expensive the works by the masters were, he thought then: “If I go this route, I might not be able to buy art.”

At the time, the collector met Jay Amante, a young gallery owner who had just opened Blanc Gallery. Here he saw the works of Arturo Sanchez Jr., Winner Jumalon, Jigger Cruz, and more. “[Jay] told me it’s more exciting because these artists are also very young, and they’re all just starting their careers,” he says.

“In art collecting, you cannot take anything personally. Sometimes you’re able to get, sometimes you won’t be able to get. It’s part of the game.”

A longtime friend, Tina Fernandez, also established her first gallery, Artinformal, with a group of artists, including Rodel Tapaya, Marina Cruz, Jose John Santos III, and Pam Yan-Santos.

The collector became a regular client of Blanc and Artinformal, and would also stop by Boston Gallery, which featured artists from the Salingpusa group, such as Mark Justiniani and Elmer Borlongan.

Some of the young artists were not yet well established then so the prices of their works were more affordable. Aside from considering budget, the collector also bases his purchase on which artwork he connects to on an emotional level. “When you’re faced with multiple artworks, there are some particular artworks that you’re drawn to.

“That’s my personal feeling. There’s no ugly art—it’s in the eye of whoever is looking at the artwork,” he says. “I like to start when they’re not so known yet. It’s hard to buy when they’re already popular. A lot of these works, I bought when they were just starting,” says the collector. He goes through an art journey with the artists. “You’re growing as a collector, but at the same time, they’re also growing as an artist. They’re exploring other things, other mediums,” he adds.

What’s interesting about the collection is it shows progression in the artists’ works over the years. “You’re looking at artists in their 20s, 30s, 40s and 50s. I have works from artists in all those categories. I’ve been collecting for 18 years,” he says. An artist’s relevance is gauged over time and success is measured if “he or she is still relevant even as they get older, as they continue their craft and continue to produce more art.”

That is a very difficult part of being an artist, the collector notes. “A lot of artists have a good first solo show, a good second show, a third. How are you going to sustain that? How are you going to keep the interest? How are you going to get collectors to go with you on your art journey? When I like one artist, I keep on buying the same artist even from a different year.”

There is a story behind every piece in his collection—how he acquired it, the show he attended, the artwork he waited years for, and even some heartbreaks along the way.

The collector’s “biggest frustration” is Elmer Borlongan because it’s near impossible to buy a Borlongan painting now. He has drawings and sketches, but only one painting. “It’s a lovely, nice piece. I begged a collector to sell it to me for the longest time, for years, until she gave in. I bought it. At that time, that painting was the most expensive painting I’ve bought,” he says. Knowing how much he wanted the painting, his wife encouraged him to buy it, as the chance to acquire a Borlongan painting might not come again. True enough, he hasn’t been able to get another one. “But that’s how it is. In art collecting, you cannot take anything personally. Sometimes you’re able to get, sometimes you won’t be able to get. It’s part of the game,” he says.

A Marina Cruz painting holds special meaning for the collector because he waited in line for seven years to buy one. The particular one he liked featured pajamas. It would be a gift for his son since he already had one Marina Cruz painting set aside for his daughter. Unfortunately, his wife preferred a different piece. They argued and couldn’t really resolve the issue, so he declined the painting to keep the peace. But all’s well that ends well—his wife gifted him with the Marina Cruz painting for his birthday. And he cherishes it all the more because of the personal story attached to it.

He advises first-time collectors to get a sense of what they like by going to group shows and looking through social media. There is a clamor for in-demand artists so one should be aware of upcoming shows. “Do your research; learn more about the artist; try to meet the artist, the gallery owner, and other collectors,” he says.

“You have to set your budget,” he adds. “You also have to know if you can live with the art for years. Don’t look at the monetary return or if you can sell it in the future. Can you live with the art for a few years? Be aware that your taste now will not be your taste in a few years.” Also, consider the people living with you. If you have young children, it might not be a good idea to hang artworks that feature horror, violence, and nudity.

Lastly, he suggests purchasing the works of emerging artists before they become very successful or famous. You’re never going to get the works of big-name artists if you weren’t buying their works before they were famous, he explains. There is a patronage system, and it pays to be an early supporter of rising artists and to build relationships with galleries. For instance, the collector notes he was buying the works of Roby Dwi Antono and Marc Aran Reyes before they became superstars. On the other hand, “as the artist becomes more and more popular and their works become more in demand, your art journey with them will end because you can’t buy anymore there’s too much demand.”

When asked about why he collects art, he shares that it’s uplifting to see an artist pour everything they have to come up with something beautiful. “It feeds your soul. It’s so difficult to describe, but there’s something deep about seeing something created. I’m always fascinated by the creative process.”