In search of the past and what lies within
Enchanted by the mysteries of the past, the artist is resolved towards ageless creations.
To study the past means to study one’s self. Revisiting this plane would mean an immersion of sensory impulses geared towards introspection. Individuals who engage themselves in this discovery of time long forgotten switch on an empathic recollection of a world remembered only through what’s left of it.
These relics, once mere tools, carry with them memories and traditions that are infused into every grain and fiber of their existence. The warmth of candle light, the creak of an antique door, and the treasures that lie within worn chests are the things that imbibe a wonder for what once was.
This quest for understanding is what drives artist William Antonio Gaudinez. Enchanted by the mysteries of the past, this artist is resolved towards ageless creations that reflect identity and space.
Having such a profound outlook on forms, Gaudinez developed his style through excavation of the truth and the search for life in enduring crafts.
Gaudinez’s early experience with art is far from the culturally rich outputs of his polished motif. “I was interested in cartoons and comics. I love seeing the magic of how characters move and talk,” Gaudinez shares. Although different in form, the contemporary images that attracted the artist are simply the evolution of the essence of what he wanted. And what he wanted was art.
Gaudinez was determined to pursue a life of imagery. So with the help of his uncle Angelito Antonio, he opted to take up fine arts at the University of Sto. Tomas. After finishing a course in advertising, Gaudinez honed his craft by manipulating contemporary forms.
Despite his immersion in a world of dynamic imagery and animation, Gaudinez yearned for an outlet which would showcase his sensibilities in its purest form. “I wanted to paint, but I just didn’t know how,” the artist shares. With encouragement from his aunt, Norma Belleza, Gaudinez took what little knowledge he learned from college and developed his talent. “I was struggling to find my identity and my own style. She just told me to paint what I like,” Gaudinez recalls.
The artist’s inspiration came from the unlikeliest of sources. “We used to own a restaurant named Ambos Mundos, which means “old world”. It was the closest thing I can think of as a subject matter,” Gaudinez shares. With images of people that seem to weave in and out of a fluid scene, the artist captures a moment frozen in time, a microcosm of life’s rustic ambience.
While he kept his day job, Gaudinez continued to create artworks and joined various art competitions. It was an acquaintance at the esteemed Hiraya gallery that provided Gaudinez with the direction he wanted out of his art. “When I met Bobi Valenzuela, he introduced me to incorporating national identity in my works. He told me to read books on culture and history, visit museums and galleries and immerse myself in them,” Gaudinez says. “You’ll see that these will overflow and come out in your works effortlessly,” he vividly recalls Valenzuela’s advice.
As though a fire was lit deep within him, Gaudinez followed the counsel and saw for himself an unquenchable repository of images stowed away in our country’s past. “I saw something different which I didn’t know can be done. It opened my mind,” Gaudinez recalls. A visit at the San Agustin Museum in Manila served as a chance encounter for Gaudinez to acquaint himself with the form that he so fervently searched for. “I wanted to do something that hasn’t been done before. When I saw the large retablos and four-door urnas, I thought that this was what I was looking for,” the artist shares.
Originally used to contain religious relics and adorned with spiritual aesthetics, the retablos and urnas that the artist produces create a gateway into a world of cultural images and indigenous elements. With the form finally in place, Gaudinez flourished in his art, letting his ideas manifest in this traditional craft.
Apart from the enduring images that mirror Filipino life throughout time, the artist goes even deeper by incorporating native materials into his wood carvings. By mimicking the practice of traditional material in-laying, Gaudinez collects bone, beads, glass, terracotta, and mother of pearl to accentuate the spaces of his work with trinkets that resonate an energy that feeds the narrative of his pieces.
As a resurrection of traditional images and a mirror of contemporary milieu, Gaudinez’s art has given him the opportunity to travel and share his works with different cultures. With shows and stints in foreign countries such as France and South Korea, Gaudinez became even more attached to the values of his roots while preserving sensitivity towards other customs. “I wanted to do art making that would appeal to a universal audience and at the same time keep it in a Filipino direction and context,” Gaudinez shares.
The artist’s insatiable desire to create culturally radiating works stems from his passion to preserve the country’s identity. Mixing modern elements with traditional form enables Gaudinez to channel the craftsmanship of indigenous artisans, such as the Tausugs, Maranaos, Ifugaos, and Kalingas, while purveying sensibilities that transcend age, race, or culture. “I show that we should not forget the lessons of history, not for us but for the younger generations. History is a wide arena of lessons to be learned and unlearned,” Gaudinez says.
Constantly striving for evolution, this artist avoids predictability by discovering other forms that can carry his sentiments. Infused within his wood carvings, terracotta sculptures and native ceramics are glimpses of his enduring art and evidence of his versatility. “Part of the artist’s psyche is curiosity. I always test my capacity as an artist,” Gaudinez shares.
“Art is a universal bridge. Even if you are not Filipino, the rest of the world can easily understand what you want to say,” Gaudinez says. Although his images are reflective and culturally bound, Gaudinez’s art permeates a sense of unity that banks on cross-cultural commonalities. Through his craft, the artist shares the identity ingrained into every aspect of his being.
William Antonio Gaudinez’s solo exhibit “Pinto at Putik” opens on November 14, 2010 and will run until November 30, at the Kaida Gallery, 26 Scout Torillo Corner Scout Fernandez, Sacred Heart, Timog, Quezon City. – Article courtesy of Manila Bulletin
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