EDGAR TALU§AN FERNANDEZ -CONTEMPORARY ART OF TlHIE PlHl[L[PP[ E§

/--(l)t='✓JJl~~f,li Cl:f7i-•7Jt-rfJ""✓• 7.:r.J V'"T ✓'TAT.iJ

ili § ~z:i'R~'t" AFaio>~~ q::rtt~~

1990:q:.(T,) 5 J=l iJ, G 6 J=l f;: iJ, ft--r ;1 l- o · "--=-7 f;: ;o -0-¥ -v 7

iJ- · ~x~VAT~~hkxFff- • ?N~::.., . 7xN~:;..,

:?'A(T,)w;l5 @J@,ij;f;:fi, 1AKO'Y PILIPINO (f.lli71 lJ \::°:;..,

A) J t 1,,, -5? 1 l-1vt1,{,tft G h--r1.,t-:o f.lli, t-: t t-: t :f: cT,)~

J:~ ';?IDJh --r, B:;;fs:'t'' fi, ;fi;rlvO;t '? b> 11--C 1,,, ~ ~ffi(T,)? 1 :;t'f;:

ii~ L t-:;tJ! 1,,, ';r~b' ~ ht-:o ilffilii f;: Ii, ~fi&:1¥) t;tJlij,ji:~1,,, Hif ?k~7-7~~-~-1¥Jtt7~l-lJ7lJ~Ai¥Ji::t~Gh

-0~~RJ?--C-~h,t±~l¥Jt;t~®(T,)~~~t;t~~ 71')

c:;.., ,A_(T,)t±:l § (T,)*-l;JJ~ iJ, ~@ ~ hJlli!£t;t:J7'i5r,cT,)t;tiJ,t1, G (T,),A_Jz

(T,)j'l}~(T,)oJ~§'tfbFf8 ~ h --C 1,,, -0 G L, < ,~,bht-:o

AM(T,)tf~1¥Jt;t~#R~t;t~Gf~~b'?, :f:(T,)ffl~';r~;t

~ t cT,) i:: L--r '~ffiJ (T,)f~IU1:'~;t -0~tfl'iJ,, 1,,,-:)(T,)rait;:iJ,f.l

t-: t:, B :;;fs:A (T,)n/~f!iJ, G tP.J ;t :th --r L, i? k(T,)'t'' lit;t1., t!. 7:>? iJ,o

:f:(T,)~~(T,)--:)ti,&~(T,)'tf~~-')7')~AJ(T,) • ~1¥Jl;t

~~~-R,0~~0? 0 7xN~:;..,fA(T,)'Y-V-vN •iJ 7

lJ ;J;'AJ Ii, :f:ht"'-!-tJi.~h;tt;ti.,,J -5 t!.o 'iBW, fi'U '? t

<7 1 lJ t:° :;..,(T,)fj[~)b> G t±:l~ L, §c#~iftf-t« < § G cT,)71 f

:;..,J-1 T 1 - ';?:p,;go/\; L --C 1,,, -0 o ~/t(T,) B:;;fs:T(T,)@Jj;(T,)ti:l£fl=f;: 1 §c~:;;IZJi::;i!H~ ht-:-,12iJ''i3ih--C1.,-0 Z:. i:: Ii, :@,li)--C~~

1¥) l'' '° ~ 0 ffet cT,) l,' ~ i'i'f't£ I;( 76~ f;: ;/JO ;Z L 25~ (T,) J ? i;nl!J *1 ;,j,m

b>h, P~ 1., ';?. ;t ~ ~ L 1. ,:J7'i5r,(T,) t;t iJ, -r- <f.l> t1,:;;tz ,Ii) G h-0 o

71lJc':;..,*$T~ffi~X~(T,)$~1¥)~o/l;';r~h-07xlJ~·

M·f•v~:;..,-~i--=-7~, Z:.(T,)ilffi*(T,)Z:.c';rffL--r'§•

~ • r8~t L--r(T,)~ffi•J u11.,--r1.,-00 ,wr~J~i;:J ~~!le

~cWxfr;iJ, G (T,)i?fitUt;tJt~ ';?~ '?, ~ .Bc\~oo• 1:: L --rm:1tt;tr"i

;i!H';?~;z_-071 ') l::°/tf~f;:t31,,,--r1i , '/1',T "p;jl;t-0ftp,~" f;:

@lii l,-:)-:) § c ';? ~t±:l L --r 1.,t1,bl;ft;t G t;t 1,,,0 :f: cT,) k ,Ii) f;: fi,

~ (T,)tf~(T,) pgffl1Jf;: f.i i 1,,, t;t t1, G, "'-!~f;: :f: h ';? r,',-m,i;: ~~ ,Ii),

ff< *h~ -5 f~if;iiJ,&:'.-~ i:: ~ h-00 ~ffi-(T,)f~tuli, i ~ f;:::.

Z:.R#T-00 Z:.')L--C7xN~:;..,fA~, §~(T,)-T-0~Gh

kti~Ri?ili<~~o/l-T~Z:.i::R~~(T,)~~- :f:(T,)ffi~ttRJ

? --rtP? --r, }J\W~{,jq;: i::? --r ~:Jml¥J~#t£(T,)1±:1JiJ,~ G h-0

Mit!sll:i::~-00 1 t:·-)-f;:(T,)?--Cfi!ifl-0J ',C.,,f;:F¥t1,~•t-:-t;J /::1.>

?kiliWti, Z:.(T,)00(T,)<*ft~>(T,)~~R~-t;~~::.c(T,)9~

~ /:::;IJ5fJi~ ';rf;:'. l:J;i-t±:l~{t--Cl,>~o

i::Z:.0~ ~i~i~~7-7';?V:;..,~Ni::L--C~'?--5:1J

~ f;: ML, L' :f: (T,)j@=e;: ';? 1::· ') -'¥UtJYT L, t-: G J 1,, cT,) ;,J'o 19U Ii' r 7

7 :;..,(T,)'is~J i:: 1,,? *1'1=Tli, +'.:f'.~f;:iJ,ft Ght-:~(T,),@jf;I;:

jli_fl';r~fi&T -0~iJ,miJ,h, {Noo--r·~~ ht-:*OO~-(T,)~li,'ilil¥J

-fj11,{l,t1trl~1,, ';?t¥iJ>«--C i,, -00 t L, t :f: h G (T,)~7 - 7 ;,'.I{-~

~~hkffl~RJ?--C~~R • ~a;tGh')-0!::"t-0t;tG~

t li~~ilffiT,o -0£,~li~t,, i:: 1,,-5 ~~iJ,~f -0b>t Lht;tt,, o

L,~L,, 7xN~:;..,fA(T,)V:;..,~Nti ,ffl ~fi/tRiT~SR

J? --rlHT-t; ~ h --r 1,, -0 (T,)T, .!j!t;t -0 mEJij i:: 1,,? S !: f;:~b G

t;t1,,o ~ Gf;:, ~7-7(T,)llc • ~Xi!lh~b-tt(T,){±:1Jf;:~,i;':i,b,• b>h --C 1,,--r, ~ilffi~raif;: J -0~fJ[--C·,o -0 Z:. i:: cT,)£,~ttiJ 1:f: Z:. 1;:

2,li)Gh-00 7xlJ~ ·M· f • v~:;.., - ~i--=-7~ffi • L,--r

1., ~ i :ii;:, ilffioomRtiJ,~~ 1:: M~iJ, G t;t '? , ~~* ') /:;.., i­

i)!~J:jb-t -0 F 7" T 1 o/-;; ~-"Et1±~--r f;: ~? --r 1,,-0ffifi&li,

~7-7~±(T,)Mffi';r"'-J~i¥JR1'Ji.·R~;t-0t(T,)T,oG-ttJ')

i:: T -0 {'l=~iJ,i:p,C.,,1¥J~f'1l ~ ';? ~T::. i:: (T,)WJjif~~h -r-;o 0? o

~-~-1¥)!;(3\:;•(T,)m~:n~,**R:Jon-0~~(T,)p~~~~

/\ftj~(T,)iG~t;tt!t:W-i:: l,--C~~~h --r1,,~::. i:: ~ 1::·1i, m•i¥J ~••R(T,)h~Gh~~~t;tv:;..,~1J~A~i::8;t-00 tt;o

h, V :;..,~ 1) ~ A 1;: J -0 JG t;t 1,, f;: iJ,iJ,b G f~~~(T,) Ii, A

rai(T,)~fff;:iJ,iJ,b-0 *~(T,):h~Af;:, ~ilffibl:5H:l"A0? /::TQ

iJ,T,iJ, "[' '° 0 ? 0

Human Regeneration Rooted 1n Ethnic Origins

Nakamura Hideki

"Ako'y Pilipino" (I am a Filipino)was the title of Edgar Talusan Fernandez's 15th one-man exh ibition , held at Gallery Genesis in Manila in May and June 1990. My impression on attending this exhibition was that I was encountering art of a type that is becoming increasingly rare in Japan . The paintings featured motifs with sym­bolic significance realized by methods one might describe as either classical or photorealistic. The artist was striving to throw light on social contradictions; his work stressed the importance of Filipino ethnic origins and seemed to me to suggest possibilities for human regeneration within difficult situations.

The habit of thinking about art in terms of its close relationship to life in society and its consequent role in supporting the founda­tions of social existence is one that has largely vanished from the mentality of the Japanese people. One of the causes of this is no doubt disdain for the idealistic schemati sm of conventional "soc ialist realism." But the social realism of Fernandez should not be confused with this . He takes the reality of the Philippines as the starting point for an exploration of his own identity in order to effect his own salvation. It is thus highly suggestive that one of the paintings included in the present one-man exhibition in Japan should bear the title Searching for Oneself. Labyrinthine curves are drawn in combi­nation with a strange landscape containing sharks; the work suggests a striving after the self within conditions of perplexity and severity.

Felipe M. De Leon, Jr., who teaches aesthetics and interdiscipli­nary artistic studies at the College of Arts & Lette rs, University of the Philippines, has described Fernandez as "artist as witness and seer." Long dominated by foreign powers, the Philippines has been strongly influenced, to the detriment of the national identit y, by exogenous cu ltur es, and, at the same tim e, it has had to face var ious problems on account of its var ied ethni c origins . ln such a society, people are obliged to search for their true selves while constantly confronting "the stranger within ." While living on the inside of society, they thus need to view their society in a cool and collected manner and to foresee its future development. Herein lies the tru e ro le of an artist in such a society. As he plays out this role, Fernandez is inevitably committed to the restricted society of whic h he is himself a member, but it is this very fact that gives his work a universal quality able to strike a responsive chord in th e whole of mankind . His recent work, which includ es paintings such as Dance to the Beat and Lines in the Mind, exudes a richness and strength gained from returning to the starting point of his nation's ethnic origins.

What criteria should one employ to assess the appropriateness of specific motifs as symbols? For exam ple, in Fernandez's major work, The Struggle of Juan, sharks-sy mbolizing debt - appear at the foot of a crucified figure representing the Filipino people, while the deceitful lackeys of imperialism -sy mbolized by a mask -s mirk on the sidelines. If it were possible to repla ce such motifs by generally accepted concepts, one can legitimately ask whether there is any need to employ the medium of painting to express ideas that could be quite adequately expressed verbally . But Fernandez's symbols are

backed up by a high degree of personal experience, and they do not end up as merely explanatory. He emphasizes the positioning and combination of motifs, and it is in this respect that the spatial conf ines of a painting are necessary to him as a medium of expres­sion. As pointed out by De Leon, Fernandez's paintings contain only foreground and background. A feature of his work is the dramatic presentation in which figures appear against a distant horizon or a backdrop . This is indicative of the central importance in Fernandez' s work of the attempt to draw attention to the relationships between individual motifs in a synchronic manner. The classical style in which he paints light and shade and the manner in which dreams of future regeneration are expressed in the form of perfect circular and octagonal worlds constitute a unique type of symbolism which could be realized only in the visual realm. But, rather than questions of symbo lism, what is most important is whether a painter strives to penetrate un explored realms of chaos bound up with human exis­tenc e.

(Art Critic)

71 1)t:°/'fji{~ ~ 1*JO)~jt 7 l) 7- • G • c:¥'1) :r..Jv -1:

~@t~~R~~Q~Y=~A~719l::"/Rm*Lk0~.

~Mi • .g-1Koo-r-mlli L -rt,, t-: 7" 1 ,;; 1--1J .:t • :r.. y 7' ;z -r-s 1J.

1928i:J:-1:-aoo 7 1 1J l::" /-r·i,J,111 L tdwOOJ'iiJ!w}JJ-r·tfS-::, ka L

iJ, L-J:tiJ1G. = 0001:~Y=~AiJ!JE~T Q 11:T Ii Lli'G <

lli¥Fs9~~Lt-:a t t,,-5 01if.lt!:'tj'i¥J'l;t7~JvY DifK0@*t-:i:>0

~~MiJ 15Oif.1~-¥ f;f * -r-~ t,' t-: t-: 11) 1:' &:> Q 0

~ 5'"=.::Z:-AiJ1m*~ n -r .t:J*· ::nm t ~~,c.-1:1; 1vt±;s-cJ=-7

- -J-1 7- 1--t-: i:, Ii= h-1:)ti\ ~ --:;J It i;, h, Q ~iJ!~ .:z c t,,-::, t-:a =

-5Lk7--J-17-l--ki:>~. ~Y=~A~7hT~o/'J-J:t~M

R•Gn~~ttR~~Q~@-~~Gi,J,l~~n-r.@A0~ffi

1¥.J•m~t~@0~~~*-~ffiTQ~0tL-r-~0X~~

-::,c~~Ahka r~y=~A0~J:r..Y7'7-~ . ~@R~~Q

719l::"/0~~ttt~Y=~At0 • .g-~~-::,ka~<07

--J-17-1--ki:>~=nR~~L. ==ReW0~Y=7-I-- · ~

N-/~~~~h,k 0 :I..YTA , ;/JNDA • ~f--/ • 77/1/

;z~~JUffo • B • ;t;/J/~03~RJ-::,c~~~hk~W

01--D1;/J~~R. ij1/~/l-- • ?T/~-7, ~~-N •

Vff7-l::", D~;t - 5'f:r..7,~NT/F · R • ;t;/J/~- 7

=5' • ?,J"~1~1 • ;t;-'l;tt'' l 3A0~5'·=;z H<>;l',;t · 97

9 ;z 1--t-: i:, iJ11k f;: 11• b -::, t-: a

m 2 ;t;;:i!tW*®UJ1;: li~lli¥0t±~~ J Ui&r• i¥.JF.,9MiJ!~ffi0

i!tWI: ~~Hit L . r/D V5' 9 7~ffiJ t r~ffi.¥:_t:i:•J

0l'!.:V:iJ1l'itroo f;::Jill Ltl:l ~ hka 30if.1~~ J U~i:pfHJ1;: iJ,ft-r

0&~1¥.JB&~r/DV5'97~ffiJ0S-~-5-J:t~L , ?T

/~-7. #D • B • ;t;/J/~ , ~~-N • Vff7-l::"-/;t~0m

-i!t~~Y=7-l--ki:>~. 7-7A~Y-/=- (Y-/~~~

Lt-:71 1J c/0*.g-1-;-;z), z*. ~Jl;i'ffi-J:tt"~ffit-:-J:tM;t-tt

VO& I') _tl:f, t±~i¥.Jf.,9M.~0~$t,,ffi:\"a~tii!it->t-.:a

~Y=.::z:'Al:1f-::,c~kG~ntu{9iffe0Ji!i~li, 71 9 l::"

/07-5-17- t--1;:J-::,c1Qiz.JJ3(~n. ~~- ±~1r.~nt-:a 17U

.:z~ . *1l::°7-A,ffiRA~0~ • ~.:V:~(77~o/l--) ~J

IF¥@ (/V- /) U;:?};j'ffT Q-'F-t:tdi. ~@-!J'!.f;:~lt Mm 0-i¥J-J:ta~tLc~~TQ0~~-J:t< . •~~~R~bQ£*

i¥J-J:tm~t'l;t-::,k0~&:>Qa?T/~-7, Vff7-l::" , 5'f:r..

T G li;l',;t • 9 7 9 ;z 1--t L clf~-r-s Q iJ!, f.&' G jJ!~ji ~ -it

k~EJJcl* 1 t:" ;z A fi1{ 1) iffe03ft§.-r·:B-l!/U~ nt-:-~ t li~-J:t Q

~~~~ff~L.&~~~ktLk~~A - F~~IJti:lLka

~-R. *1l::°7-A/-~:i:-~ . ~-~~* • •···~0

W-J:t~~• tttLc~IJ_tl/k7/~ ' *7 · ~101'F£RJ

-::,cY1T~o/'J-J:t-~h~~.:zGh-ka•m::t•~tk, ;t

=f • ;tN~F01'F£R~Gh,QJ-5R.~~0-ffit~M0

1 ~ -Y1r.""11:AFs91¥.J-J:ttlc~l:l't-t MJC~0-cJ=-f& t L c ~ fflt,,

Ght-:a

-JJ. *~ • ;t;-v~~/A5'/1/-T ' «-)vTJvF, 1)- · 7

~TNF-J;t~.g-1Koo~--~~~k7--J-17-l--ki:>~ . Ma

•m::t•""•w~1¥.J Ma::t•-J:t~=1-3-?0effi0;z5'1

N~-R--:;J~cffl00Lka.RMa:i:.~ki:>~719l::"/M

a::t•~~ti:lTQ~tttt~~&Lka ~ .:z~719o// • ij1

'JI---N01'f£R~i;,h,QJ-5R~~-~~i;,1/Al::V - 1/

=1 /~{~kl'J. 1{- • 71~-r • ~/1--7-05'\:"7- 1--9-0J?

Ra±~~k'?T~~0•tt~m~L. ~0~-~'?1/AC

V-1/ =1 /~51 ~ ti:l Lt-: IJ T Q ~ 0-/;t t"iJ!&>Qa

6Oif.1~1&-¥0-~1¥.Ji&r• •~0jfljt IJ Ii, 00~:i:-~:i:Mt

Lfd~W)-/;t/DTA f--• 7-f--~~c1J-ti:lLf-: 0 "-/ ' 7J/V7 ,

Y~1A · T · ~~?/ , Y=-o • YV-7-J:t~0~tt&:>Q

7--J-17-t--~=0@~R*~< W.Lka =0@~~roi:J:-~

iJ, G SOi:J:-1~ 1;: iJ, It -r ;lJ 1 ~ 1 \ / -J:t t'' 0 Y - 1/ ~ Jv • 9 7 1J ;z 1--·

,;;·;v-/1: J IJ ~ G f;:~J'i L t-:a ;/J 1 ~1\ /1;: li:r.. F ;/J"- • 7

.:i:. Jv T / T ;z. 7 / 5- 1 1 { ;z • f' o 5' - ~ . v T 1--· 1 \ f 7.

1 ~ :r.. / ;z • ~ / 1--7- t P -::, t-: 7 - T 1 ;z 1--t-: i:, iJ!~1JD L, !Ji.tic

0t±~f.,9;ffi1;:r,t;t -rt-,< ~1*iH !IJtl:l Lt-:a

l"ffe~~:>'l-00:X~l:l't-t Q m~ t ffi L t,,fi~i¥.J 1::· Y =1 /0:m~lll

t t,,-5 7-? t li3 UI:, = -5 Lt-:1~~1i~~-/;tll\1Ji:liH~t vc~ f;jlj0~:i: 1r. t t,, -5 !llfJ ~ ~ ~ t-: i;, L t-:a = 0@~ Ii, ~@"";:t; ;z

5'-, w!<\lllU@. ~ ~ o/ '/ A, 1 7 A 1--V-1/ 3 /'l;t t•'~jjf[i-/;tAk

~l'ta t T •*~1¥.JtJ!Jt.JJ!%~0~.l'il:EJ)c!li1H:•vn H>Qo

t t-:. tt*J'.l::1r.0•ttHf3t-,Q = t t. ~Mi¥.J%A0~~1;:J

Q~Bi¥.J~30•mtW-5~~~-J:t<.§ffii.5D~JIJ~<0

Ak f;:ffl L 11> Q ~ 01;: Lt-: t t,, -5 ,~-r·~ffi0~:i:1r.fr/H$0.b

nt5.:zJ?aU_t0J-5-J:t1.ii,J,l~.~B 0719l::"/~ ffi~

1Jfi'i]--:51tc t,, Q 0-r·S Qa

AN INTRODUCTION TO CONTEMPORARY FINE ARTS IN THE PHILIPPINES

Alice G. Guillermo

Modernism in painting and sculpture was introdu ced in the Philippines by Victorio Edades in his 1928 homecoming exhibit from the United States . Howeve r, it took some time for moderni sm to take root in the countr y, since the conservative painte rs of the Amorsolo school held their ground up to th e mid-Fift ies.

Since its inception, modernism attracted an increasing numb er of young, talented, and adventurous arti sts. Th ey hailed moderni sm for enlarging th e range of painting and renewing it as a veh icle for personal expression freed from academic formu las. As "father of modernism."Edades sought to fuse modernism with nati onal identit y in art. A number of artists responded positively by for ming th e first modernist groups : to th e original triu mvirate consisting of Edades, Carlos "Botong" Fran cisco, and Galo B. Ocampo were added the Thirt een Modem s and the eo-Realists, such as Vicente Manansala, Cesar Legaspi, Romeo Tabuena, Hernando R. Ocampo, and Anita Magsaysay-Ho.

After the Second World War, the social and political issues of the time were reflected in art and the debat e between "proletarian art" and "art for art's sak e" came to the fore . The econom ic dislocations in the Thirties and the years during and after the war tilted the balance in favor of "proletarian art." Thus, the paintings of Manansala, Ga lo B. Ocampo, H.R . Ocampo, Cesar Legaspi, and other first-generat ion modernists found new subject matter in slums, jeepneys, beggars, and street vendors in works of social conscio usness.

Modernism brought with it the influ ence of the Schoo l of Paris which was absorbed, indigenized , and transformed by Filipino artists. Cubism, especially in its ana lyt ical phase, wh ich broke down the human figure into facets and planes, was used as a stru ct urin g principle rather than as a fragmenting device. Manansa la, Legaspi, and Tabuena, who were known as the Neo-Realists, developed a transparent cubism that redefined space and created a light airy atmosphere rathe r than the flat segmen ted style of Par is. Likewise, cubism / expression ism acqui red a dynami c expressiveness in th e works of Ang Kiu Kok, who turned to cockfights dogfights, and junk heaps of war material for subject matter. Expressionism was also adapted to local images of poverty and anguish and to th e growing protest against inhum an conditions, as in th e paintin gs of Onib Olmedo.

Meanwh ile, art ists who enjoyed scho larships in the United States, such as Jose Joya, Constancio Bernardo, and Lee Aguinaldo came back with the latest art styles from ew York, such as abstract expressionism and geometric abstract ion . Later abstract ionists explor­ed the possibility of creating Philippin e abstract art , wh ich draws inspiration from the natural enviro nm ent, such as th e work of

Phillip Victo r, and from nati ve cultural materials and resour ces, such as the tapestries of Paz Abad Santos.

The genera l awaken ing of political consciousness that took place in the late Sixties prod uced a stron g protest art with nationalist themes : Artists of talent such as Ben Cabrera, Jaime de Guzmam, and Danilo Dalena significantly contribut ed to this trend . Thi s was further advanced in the Sevent ies and Eighties by social realist

groups, such as th e Kaisaha n, which included such artists as Edgar Fernandez, Ant ipas Delota vo, Renato Habulan, and Pablo Baen s Santos, who have crea ted an art responsive to the issues of th e time.

Aside from themes protesting against exploitation and for eign domination and proposing a new vision of society, an important offshoot of this trend was the move toward the democratization of art. This was manifested in the development of popular visual forms, such as murals, posters , cartoon s, comics, and illustration s that can reach a wider publi c. Another expression of the democratic spirit in art was th e use of indigenous material s to make arti stic activ ity accessible to a larger number, as well as the transformation of traditional forms to express contemporary contents. It is these develop ments that set the direct ions for Philippin e art toda y.

(Prof essor, Department of Art Studies

College of Arts and Letters

University of the Philippin es)

1955

1983

1988-89

f~Ji:

1979

1980

y-=- 7 t:~ * ;/1,{:,

71~~/~~*~-~-ffi~ft·ffi~tt

$* 7 1 1) t:

0

/~f;f\jt~*(AAP)*:&

71 1) t:0

/ • -t- 1) 7H-.Jz"~f;f\j*(CASP)i'll1J*:&

v-1- • Y'J:.,,I.-"/, v.=.-5

1)--Y•Ji,,-L•:¥·-v-5 1)-, v.=.-5

I 982 v .=. -5 • v / 7" 1) / • :¥' -v -5 1) - , v .=. -5

1983 t: 7•')!,, :::f' • ::r· -V 7 1) - , Y .=_ 7

1984 Yr.:t-:t • r- t-- • ::r·-v-5 1)-, v.=.-5

1985 Yt'-5 • ~ :i-1/YL, v.=.-5

1987 :¥' -V 7 1) - • 1/ I -1'-1/ A, 7< .=_ 7

I 990 ::r· -v -5 1) - • 1/ :r: Z :.,, 7, v .=. -5

.:Et.i: ~i'J1,-7'Ji:

1980 :EJl.-(-tY1/Y.~Ji, ;j';/:J / • Y- r • iz

1981

1983

1984

1988

1989

1990

1991

1971

1976

1979

1980

1989

1990

7 1 1) t:0

/J:Jl,-(-t•f;f\j)i, ~tJR, 'fl~ i:!tWl.iZ"**~i~Hi*li, 1\·/ 7-1\·-, -JJ j-7"

71 1) t:' /*filiIDI00~Ji, Y1/Y•1,:.,,71

"J7 · ~:i-1/YL, -JJ1J7;,tJ1,,.=.r, r ;< I) jJ

~ 2@]1\·7··7··,;; t--· • 1 /7 ---J-:.,, 3 --J-;1,,~

f;f\j~, 17 7

Am~it~.:E.:E&R • ~~i:!tW.~0• L', J'\ 1), 77/A

.f;f\j~ljfJ=20~}i, 7 1 1) t:0

/)Z:1t-lz / 7 -(CCP)_ v .=. -5

~ 6 @]7K;f~I@}i, :¥' -V 7 1) -• 1/ I -1'-:.,, A,

y-=- 7

-~tt@~77-JiTI~-~- (71~

t:' /~~ili*)

COMPRO.:E1tf>1:EJJ:l*i'iliIDJi T*•~· (71 1)

t:' /)

-~~tM•f;f\j)iT· I ~-~-/ '\ 1) ""-tB""-L'

( v 1J T 1 • / - 7 • D - 7 1) - • 7 -5 7")

:EJl,-(-tY 1/Y-~JiT-(ifl=·~· ( ;t;/ ::::i /'

Y- r · -lz/7-)

v1Jr1m:&~ti*fil~-~~I@~D1/I

7 t--T·-(H'J=•~· (71 1) t:0

/)

1990~71 1) t:0

/X1t-tz /7- (CCP) .f;f\j

-~- (71 1) t:

0

/X1t-tz/7-)

Edgar Talusan Fernandez

1955

1983

1988-89

Born in Manila Graduated from Fine Arts, College of Music and Fine Arts , Philippine Women's University President, Art Association of the Philippines (AAP)

2nd Vice President, Christian Art Society of

the Philippines (CASP)

SOLO EXHIBITIONS 1979 The Ma- Yi Associates, Manila

1980 Rear Room Gallery, Manila

1982 The Manila Mandarin, Manila

1983 Hidalgo Gallery, Manila

1984 Ateneo Art Gallery, Manila

1985 Ayala Museum, Manila

1987 Gallery Genesis, Manila

1990 Gallery Genesis, Manila

SELECTED GROUP EXHIBITIONS 1980

1981

1983

1984

1988

1989

1990

1991

AWARDS 1971

1976

1979

1980

1989

1990

Young Art in Asia Now, Hong Kong Arts Center, Hong Kong

Beijing Show of Philippine Contemporary Art Beijing, China World Council of Churches Conference, Van­

couver, Canada I 00 Years of Philippine Painting , Asia Pacific Museum, California , USA 2nd Baghdad International Art Festival ,

Baghdad, Iraq

International Youth Gathering in Celebration with the Declaration of Human Rights and in Defence of Democracy, Paris, France 2 Decades of Art Making, Cultural Center of the Philippines (CCP), Manila

6th Watercolor Exhibit Competition, Gallery

Genesis, Manila

I st Prize, Family Planning Poster Contest, Philippine Medical Association Grand Prize, Painting Contest of Civilization , CONPRO, Philippines I st Prize (Travel Grant to Paris), Tribute to

the Youth, Makati - North Rotary Club,

Philippines Commendation, Young Art in Asia Now, Hong Kong Arts Center, Hong Kong Commendation, Makati City Mayor's Office for assist ing in Community Youth Projects Wall Mural, Philippines

1990 Cultural Center of the Philippines Awards for Visual Arts , Cultural Center of the

Philippines (CCP)

CD.iE~-a-*cl1'.l--c 19881f­;a3'j;/r'?')Ji, I 72X 152cm

Searching for Justice 1988 oil and acrylic I 72x 152cm

(Z).iE~t-'!'-l• I 9891f-;a3'j;~• 7'7')JI,

IIOXl45cm

Justice and Peace 1989 oil and acrylic I IOX 145cm

@t:'-H: 0--ocl!ifi-;i 1990.q'. ;lll'f~· Y7 1JJ1,

91 x 114cm

Dance to the Beat 1990 oil and acrylic 91 x 114cm

@-lf'-~l:'i1{--t -;i.iE~ 1990.q'. ;illi~ -77 1) )1,

I 52x 122cm

Justice for Peace 1990 oil and acrylic I 52x 122cm