J.A. Martinez: Transitions Through Shadows and Lights
Although it’s the subject’s form that makes up its being, it is through highlights that the form is given life. The idea, the thought, and the concepts tied to an element merely form the framework of what it really is. The feeling, on the other hand, derives from the drama drawn from the relationship between subject and light.
The essence of this natural balance between elements is similar to how visual artist J.A. Martinez built his relationship with his art. The artist’s pure appreciation of his craft led to an even development of his talent and the very character of his being.
Growing up in a small rural community in Negros Occidental, the artist’s raw affinity with creation was what sustained him to keep his passion burning. “Passion was the only thing I had then because there weren’t any materials or books there. We weren’t really exposed to art back then,” Martinez recalls.
After graduating high school, Martinez resolved to follow his own path. Even though his father wanted him to take up agriculture in college, for practical application on their farm, Martinez took on a different route. With the help of his aunt, Martinez left his hometown to try his luck in Manila.
As faith would have it, Martinez landed a job at a publishing company, a place where he would develop his talents in drawing. “My training in art and in the human figure came from my stint in publishing. That’s where my figures were honed because textbooks use of a lot of figures,” Martinez shares.
After spending time learning the ropes from seasoned artists in the publishing industry, Martinez felt as though there was something more that he wanted out of his life. With the savings that he had from his work, Martinez decided to pursue his one and only passion. “I felt as though it was calling me. I bought materials and books with some of my savings and I went home to Negros. I spent my time painting in our farm,” Martinez recalls.
After a successful group show in Negros, the artist boldly mounted his first one-man show in 1984. His success, however, did not carry over to this solo exhibit. But this is not because of the artist’s lack in talent. Those were hard times and it greatly affected how his art was received. “The economy then was falling because of Ninoy’s death. It was hard to sell paintings because everyone was busy with rallies,” Martinez recalls.
Martinez went back to Manila to resume his career in publishing, but the artist did not let go of his rhythm as he kept working on his art and joining various art competitions in the process. Martinez’s early style, as he describes it, was a mixture of influences from National Artists Vicente Manansala and Carlos “Botong” Francisco. Although his approach was a confluence of these two masters’ style, Martinez wasn’t satisfied with his works. Evident of his lack of success in art competitions, Martinez knew that he had to veer away from his cubist renditions.
While experimenting on his works and trying to find an identity which he could call his own, Martinez delved into the inner recesses of his mind, a transition that was prompted by an exposure to one fellow artist’s work. “I was searching for a different style when I came across a painting done by (Danny) Dalena. I was influenced by his works during that time and my images became surreal,” Martinez recalls.
Even though this shift of style led Martinez to multiple successes in competitions, he still wasn’t satisfied with his output and kept looking for his next transition. It was a brush with the work of a master that pointed him to his true calling. “When I discovered Juan Luna’s original works, that’s when my impressionist period started,” Martinez says. “I used to look at a single painting of Luna for a long time. I studied every stroke as I tried to digest his style,” he adds.
Martinez’s take on the classic style of impressionism receives a dose of nationalism as his images depict the rustic ambience of rural life and often added characters from local folktales. The figures exude tinges of an ethereal quality, resulting from the artist’s graceful strokes. With the form focusing on the subject’s lights and shadows, the figures are depicted in a dramatic play of soft and subtle shades.
Similarities between the discipline and the artist’s own character led to an instantaneous rapport. The loose and gentle rendering, the vivid use of colors and the grade of shades, set off something within Martinez that would immediately incorporate into his own recollections and adroit imaginations.
“Impressionists are really after lights and shadows. It’s as if they follow the light and they try to capture its fleeting moments,” Martinez shares.
The artist’s most noteworthy works, his Summers of Childhood series, is a collection of impressionist paintings revolving around the blithe innocence of youth. As if floating on a plane of gossamer existence, the artist's subject is gently juxtaposed against a veiled world. Composed of gestural strokes, the artist renders natural movement and preserves it in a momentary consciousness; devoid of detail and enchanted with the artist's own sensibilities.
Although the artist is adept with different painting media, it’s his masterful rendering with watercolor that receives much adulation from his followers. The gentle manipulation of this medium is similar to the approach of impressionism; spontaneous, natural, and evanescent.
Despite his success and the longevity of his career, it’s hard to imagine that this artist did not spend a single second with schooling. Martinez made a name for himself using his God-given talent and his drive to pursue his passion. “No one taught me about art, everything I know was through self study. I don’t know why, but I guess it was just my destiny not to go through the rigid training of art school,” Martinez shares.
Most of Martinez’s recent images aim to capture moments in their purest form. With his depiction of scenes where farmers are busy with their daily routine, Martinez channels images from his childhood, images that have left an indelible mark on his consciousness. “These are scenes from my childhood, that’s why I know them so well, the smell of the sugar cane, the grass, and the heat. If you experience it, you know the feeling. You know the hardships of the workers, their hunger, and their thirst, you feel every bit of it,” Martinez shares.
Some say that the world is but a mirror of one’s self. In this artist’s case, the light impression of his works is a direct result of the luminescence of his being. The radiance of his art, from each deftly rendered lines, vividly highlighted colors, and blissfully formed figures, is exactly the way he views himself. “I don’t portray the hardships of life. Life is not for suffering; life is created to be enjoyed. To be joyful and happy, that’s the focus of life.”
J.A. Martinez’s solo exhibit “Immortal Instant” opens on November 3, 2010 and will run until November 16, at the Art Center, SM Megamall, Mandaluyong City. – Article courtesy of Manila Bulletin
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