The Paradox of Charlie Co

The past decades of Charlie Co’s career show enduring growth and the capacity to love and care for the world he continually critiques.

Written by Portia Placino
June 15, 2023

“Around the World in 80 Days”, 2010, 5 x 8 feet.

Forty years after his first solo exhibit Expresyon, Charlie Co is now an institution in the art world. Yet over the decades, he still critiques the problems within the system that favored him profoundly. “Paradox” (2023), one of his latest pieces for System Corrupted shows a self-portrait grasping a set of brushes in his hand as a green demonic clown attempts to pierce him with a dollar sign. Quite a play on his established iconography of St. Michael fighting evil, two of which, are on the green demon, yet this time, he is the one who must resist evil. The red horse of war and bloodshed breathing down on the artist, threatening him. Despite decades of success, Co recognizes the imperfections plaguing artists and Philippine society—money, politics, and in many ways, a corrupted system.

Co’s art practice is inextricably tied to the community. As a young artist establishing his career, he co-founded Black Artists in Asia along with fellow Negros artists conscious of their roles—Nunelucio Alvarado, Dennis Ascalon, and Norberto Roldan. The 1980s was a period of political instability and shifts in the country. Negros was trying to survive the famine caused by the sugar crisis. The group navigated the contentious period through their socially and politically conscious art. Co would paint workers and farmers struggling to survive such an unstable time. Stylistically, Co’s early works are reminiscent of Expressionists and Surrealists. Yet he dealt with famine, land reform, prostitution, and bar scenes.

Notable iconographies began to surface in Co’s paintings by the 1990s including crows, horses, carrozas, and St. Michael. “The Galleon” (1998) shows the early textures and colors that Co will develop over time. The galleon in the middle shows religious icons, a man in metal armor riding a black horse, and a brown figure holding a blade. The vibrant blue streaked with dark tones and red alludes to the violence of colonization and the early introduction of religion. The work reveals one of the early appearances of a black horse in Co’s works, heralding famine—an experience close to the heart of Negros. Co’s exploration of religious iconography, putting forward the cracks to the surface, will chronicle conflicts within Filipino life.

“Hammer Price”, 4 x 4 feet.

Though known for his large-scale and often violent imagery, Co also translates lighthearted moments into his artworks. “Travel Time with Ann” (1996) recollects travels and explorations with his wife Ann Legaspi-Co. The painting, quite reminiscent of Marc Chagall’s “Les Mariés de la tour Eiffel” (1913) shows the Eiffel Tower, Cristo Redentor, and Sydney Opera House, among others. His wife Ann was featured in a number of artworks through the decades, often referencing their many adventures including “One Autumn Night in the Big Apple” (2005) and “Around the World in 80 Days” (2010).

Yet one key journey the two made was in Bacolod itself, with the creation of the gallery cafe Cup of Art where Ann was able to expand her bakeshop and Charlie was able to dip his toes in gallery ownership and art sales. Though Cup of Art will eventually close, it paved the way for both their careers, expanding their influence in Negros and beyond.

The turn of the century solidified Co’s style and position in the art world. After winning multiple awards including the 13 Artists Award (1990), Juror’s Choice in the 6th Philip Morris ASEAN Art Awards (1999), Patnubay ng Sining at Kalinangan (Pintura) (2003), and the Dr. Jose Rizal Award for Excellence (2007); participating in major exhibitions such as Brazil’s 23rd Sao Paulo Biennale (1996), 2nd Asia Pacific Triennial (Australia 1996), “Asian Modernism” at the Japan Foundation Asian Cultural Centre, Tokyo (1995, traveling to Bangkok and Jakarta); and taking part in artist residencies in Japan, China, and Australia. Co has had the quintessential successful career, yet he did not stop there.

Co, together with artist-entrepreneur Victor Benjamin “Bong” Lopue III, created Gallery Orange in 2005. Fondly called the “Bridge of Love,” it became a home for Bacolod-based contemporary artists to explore and experiment with their artworks. They expanded the space in 2014 alongside the growth of Lopue’s Mandalagan annex area, opening up the space for Filipino and foreign artists.

In 2018, they renamed the space Orange Project after placing it in an immense two-level building at the heart of Lopue’s Mandalagan, surrounded by what is now known as Art District. Co often says he is “driving the bus” built by Lopue, with the partnership enduring for 18 years, despite the lack of financial profit. They claim this is their contribution to art, and for Co, it is his site in mentoring generations of young artists, ensuring the growth of regional contemporary art in Negros.

When asked about the clear style and perspectives in his artworks in the new millennium, Co states, “I think it is maturity you see.” He continues to provide cutting commentaries through his works, and at the same time, gives space for younger artists to germinate their own practice.

“Carrosa Sang Guerra” (2002) shows his long-nosed figure in military clothes, holding a rifle while riding atop a carrosa, typically used for saints and religious figures. The carrosa was being pushed forward by men with their heads bowed as they grasp a candle. The play on religious iconography as he critiques society is still much pronounced.

“Thieves, Vote Stealers, Dagdag-bawas, etc”, 2004, 30 x 36 inches.

“Thieves, Vote Stealers, Dagdag-Bawas, Etc.” (2004) is a more direct commentary on the Philippine political situation as accusations of cheating plagued the national elections. But Co does not limit himself to the local situation, with “Mad World of the Blue Screamer” (2006) portraying pain and emotions after the fall of the twin towers in New York. The 2000s opened up the world to a slew of wars fought on vulnerable territories, and Co’s “Global War Equals Global Business” (2007) shares his analysis of the terrible events.

2013 brought a different challenge for Co as his diabetes took a turn for the worse and he needed a kidney transplant. In the next few years, his works became more autobiographical as he dealt with health issues and personal loss. His consciousness of time manifested in the clocks and narratives presented in his pieces. In a way, art is his escape and balm. In past interviews, he stated how he takes care of art and art takes care of him.

“God’s Time” (2013) shows a clock on a comfortable chair, reminiscent of his surrealist style from his early works. “Me and My Machine” (2013), on the other hand, is a smaller work that manifests his later technique of harsh textures, showing a self-portrait surrounded by dialysis machines.

“Death Was Real”, 2014, 5 x 5 feet.

In a similar style of rough brushwork and strong colors, another self-portrait, “Death was Real” (2014) shows Co in his studio, surrounded by golden yellow clocks.

“We’re All Going There Anyway”, 2015, 98 x 58 inches.

The large-scale “We’re All Going There Anyway” (2015) illustrates the journey of life and loss, with figures traversing through a thicket of trees and branches, doing their best to live life despite pain, with art being integral to the journey. Co’s personal and autobiographical pieces add a deep resonance to his body of work.

Despite harsh realities in the artworld, art is also his medium for confronting images of war and destruction rooted in national and global events. “Marching Off to War” (2017) looks into people forced to sacrifice their lives in dangerous games played by authorities in power. The imbalanced power relations are often the touchpoint of Co’s artworks, highlighted by his rugged lines, severe textures, and potent colors. His ability to continually confront society, economics, and politics from a global, national, and even artworld perspective gives a rich potency and contemporaneity to his works over the decades.

The Covid-19 pandemic disrupted the current world order, yet the same power relations remain at play. Co, as a transplant recipient, was forced to remain at home in the early months of the lockdown. But with social responsibility heavy in his heart, he, along with Orange Project artists and staff, helped the community by providing basic necessities and slowly opening up their spaces so art practice and engagement may resume.

For Co, the quiet of the pandemic also became a starting point for creating more art. His monumental “World Gone Mad” (2021) told the story of the chaotic part of the pandemic—with his iconographies exploding on the canvas in deep reds and black. The fiery texture and treatment bring the viewer back to the terror of the times, which deeply scarred the story of humanity.

System Corrupted, Co’s latest show at Finale Art File, 40 years after his first solo in 1983, starts

with a journey and a decision to be made. He felt that “Do We Have a Choice?” (2023) is his opening piece, questioning humanity’s choice in what will happen in the world. Though the past few years manifested an imbalance of power, seemingly robbing the powerless of the ability to choose, Co thinks otherwise. The nude figure looks enraged and in pain, riding a black and blue horse, holding a double match, on the edge of making a decision.

“Match Stick World” (2022) shows the world on the precipice of burning. Co often challenges his viewers with the question: Do we have a choice? As dark and looming as his artworks are, underneath is always a message of hope. Co believes “we can choose not to light the matchstick, we can choose not to burn the world.”

The past decades of Charlie Co’s career show enduring growth and the capacity to love and care for the world he continually critiques. Market and artworld success are never his benchmarks, as he values his contributions to society more. His story is profoundly connected to the people he nurtures and the community he cultivates. Gifted with natural storytelling, he spends much of his time empathetically conversing with the public. He is constantly “driving the bus” and mentoring young artists. Proof of this is the continually expanding art practice in Negros, with artists of various generations treating Orange Project and Art District as home. There’s much to look forward to as Co’s unwavering practice continues, challenging, and at the same time, loving the world and its people.