Cycles of Play
AR Manalo looks back at his life experiences, tying it to his art practice as a self-taught creator, valuing childlike curiosity and bold concepts.
Words Pao Vergara
November 22, 2023
AR Manalo at his solo show, In the Quiet, In the Stillness, at MoCAF 2023
This is an excerpt from Art+ Magazine Issue 87. To read the full story, get the latest issue available on collectibles by artplus, Shopee, and on select stores of National Bookstore and Fully Booked.
A signature amidst free flow
Manalo is about breadth—he draws from a wide range of interests, communicating different messages while mixing and matching media. He literally goes beyond the canvas. There were times where he wondered if art fairs would allow him to mount more unconventional works.
Installation works from ArtFair 2021 (J Studio HQ)
“Indayog” from ArtFair 2021 (J Studio HQ)
He’s worked with repurposed books, carving the covers, scanning and reprinting illustrations, tying it all together as collages infused with traditional painting, or sculptures. Tiring of that, he moved on to acrylic glass, adding a blown-up scanned illustration here and there.
Some might wonder at this seeming inconsistency Manalo seems to hit home given that no matter what he tries, he manages to execute it well while maintaining his artistic signature. Whether it’s a carving, a collage, or an installation, whether depicting childhood whimsy, social realism, or playing with words, there’s an AR Manalo essence in each.
Some artists devote their careers to painting a theme or subject, slowly attaining perfection along the way. Think Benjie Mallari’s focus on Manila street scenes or Rothko’s definitive colorways over the decades. Others dwell for a while before moving to a new focus, and an overview of their oeuvre reveals these movements, like how Sanso dwelt on domestic scenes and seascapes at different points in his life.
AR Manalo’s solo show in MoCAF 2023 with installation work titled “In Deep Thoughts“
Sculptures inspired by “Horikawa Robots” from ManilArt 2022
Then there are artists who “zigzag,” across subjects, across media, but who have a definite style: Kawayan de Guia or Inday Cadapan. Despite his lingering impostor syndrome, it wouldn’t be a stretch to count Manalo among their ranks. Once, he looked up to Honasan for the latter’s ethos, now, Manalo seems to have embodied it, making it his own.
“Concept is king,” Manalo raves.
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