Elusive Edge offers a glimpse of how the expressions of abstraction in Philippine modern art continue to inspire dynamism and fluidity through the decades.

Written by Daphne Co
Photos by Jennefer Sneddon
June 26, 2023

Beyond the lines, shape and color, what makes abstraction an expression? The concept of abstraction is rooted from the modernist movement, spreading throughout many art spheres during the 20th century, resonating well past the established traditions.

Instead of pushing to properly represent a visual reality, abstract art uses shapes, colors, forms, and gestural marks to achieve its desired impression. In the Philippines, the expression of abstraction reflects the cultural transmission of a universal style as it is accommodated in the richness of Filipino artistic lines.

The Metropolitan Museum of Manila, popularly known as The M, proudly launched "Elusive Edge: Philippine Abstract Forms" last June 13, 2023. Dr. Patrick D. Flores, the exhibition's curator, chose to highlight the unique history of abstraction's inception and development in the Philippines. The exhibition is divided into five sections, each focusing on how abstraction is identified, dwelled on, explored, theorized, and initiated in Philippine culture.

Setting off towards the North Gallery, guests are warmly greeted by Arturo Luz’s towering Anito. Just a glimpse into the entrance of the gallery, with the colorful array of structured yet free-spirited works displayed, gives one a prelude of what lies ahead. As one makes their way around the exhibit, it becomes clear how the visual compositions reflect the evolution of Filipino abstraction in various fields through the decades.

Upon entering the gallery itself, to one’s left is Section I: Impulses of a Tendency. The collection shows how the precursors of Philippine modernism grappled with the ever-present struggle of defining reality. Precursors Mangga at Papaya by Vicente Manansala and Man on the Cliff by Juan Arellano are some of the works that show how the central tenets of Filipino abstraction were informed by idealization. A newfound understanding of this ultimately resulted in a stylistic transition, showcased by Lamberto Hechanova’s Homage to Julie to Robert Chabet’s Untitled.

To the right of Roberto Chabet’s Untitled starts Section II: Edge and Color. The collection of hard-edged colorful abstraction works is said to reveal the resulting experimentation of Filipino artists with modernism, given their acquired worldly knowledge and inspirations. Electricity Turned Off, Television Turned Off, Mind Turned On and Linear No. 94 by Lee Aguinaldo reflect the pioneering legacy of distinct, striking compositions in Philippine modernism.

Smack-dab in the middle of the gallery, one is further surrounded with other exemplary works of the time such as Leo Vallador’s A.I.R, Ileana Lee’s Wedge, and Nestor Vinluan’s Shadow Casting on One’s Pond and Six Squares.

Flush against the back wall of the gallery is Section III: Calibrations of Absence, lining up artworks ranging from Romulo Olazo’s Metamorphosis up to Alfredo Liongoren’s Palimbang. As mentioned by the curator, Philippine abstraction sought to merge contrasting ideas amid the gradual erasure of the observed reality. Mindscape (Tempest) by Justin Nuyda, who is recognized as one of the pillars of Philippine Modern Art, is one of the noteworthy pieces.

Stepping from the past towards the present is Section IV: Traces in the Contemporary. The rightmost portion of the gallery holds pieces that reflect the current situation of contemporary Filipino abstraction. Works from the likes of Maria Cruz and Gary Ross-Pastrana give a glimpse of how abstraction is viewed through various perspectives and means.

Although the exhibition is mainly composed of works in the visual arts, Dr. Flores ensured the inclusion of other applications of abstraction. Section V: Abstraction All Over proves that the expression of abstraction is evidently prevalent even in other art forms and disciplines, manifested in the exhibited vinyl pieces, cuisine publications and in architecture.

Given the rich history of Philippine abstraction throughout the decades, The M itself has undoubtedly played a commendable role in these developments. It is thus only fitting for the exhibit to conclude in Section VI: The M Archival Collection including various works, from Ramon Orlina’s Trune to Impy Pilapil’s Ocean (Series).

With the legacy of Filipino abstract artists, Elusive Edge gives a glimpse of how the expressions of abstraction in Philippine modern art continue to inspire dynamism and fluidity in lieu of imposing a singular narrative. This elusive edge, between both the familiar and the unfamiliar, the universal and the ethnic, from its beginnings to evolution, is what Filipino abstraction embraces.

Elusive Edge: Philippine Abstract Forms runs from 13 June to 31 August 2023, with featured works by Lee Aguinaldo, Raymundo Albano, Josef Albers, Gus Albor, Lester Amacio, Juan Arellano, Jess Ayco, Glenn Bautista, Ched Berenguer-Topacio, Constancio Bernardo, Rosario Bitanga, Santiago Bose, Nice Buenaventura, Benedicto Cabrera, Roberto Chabet, Maria Cruz, Jon Cuyson, Edgar Talusan Fernandez, Marciano Galang, Rodolfo Gan, Alessandra Gonzales, Adolph Gottlieb, Marlon Hacla, Lamberto Hechanova, Lillian Hwang, Venancio Igarta, Jose Joya, Ileana Lee, Lao Lianben, Alfredo Liongoren, Alfredo Luz, Arturo Luz, Lani Maestro, Noel Manalo, Vicente Manansala, Dominic Mangila, Ben Maramag, Justin Nuyda, Romulo Olazo, Rodolfo Samonte, Ramon Orlina, Rodolfo Paras-Perez, Indy Paredes, Gary-Ross Pastrana, Impy Pilapil, Cid Reyes, Roberto Robles, Manuel Rodriguez Sr., Birgit Skiöld, Marko Spalatin, Helmut Sundhaußen, Maria Taniguchi, Derek Tumala, Nestor Olarte Vinluan, Victor Vasarely, Victor Oteyza, Leo Valledor, Ev Yu, and Fernando Zobel.