Wednesday, January 19, 2011

Manuel "Boy" Rodriguez Jr.

was born in Mla 1942. ( Experimental abstract nature paintings) BFA UST 1965. Graphic arts, Pratt Inst, NY 1969-74 under a john Rockefeller III grant. Son of dean of printmaking in the country, Manuel Rodriguez Sr. Taught at the PWU. Was artist-in-residence at Amelita Workshop and in the US, of Blackburn, Workshop. In NY, managed Sepia Workshop and Galery, established in 1969 with brother painter/printmaker Marcelino, together with expat Filipino printmakers Lucio Martinez, amberto Hechanova, and Nonoy Marcelo. Was project director of Kulay Anyo ng Lahi in 1976, a public art movement he initiated with Virgilio Aviado, using empty sides of high-rise buildings in the city as large canvases. Has had 15 solos, the fist in 1961 at his father’s Contemporary Art Gallery, the latest at Henry Howells Gallery in Soho. NY, 1991. Joined 41 group exhibits in painting in the country and abroad, and 18 print exhibitions all over the US, 1961-85. Represented the country at the San Paolo Biennials of 1967 and ’69, the New Mexico Triennale of 1971, and the Tokyo Biennial of 1974. Has a fascination for indigenous art, particularly organic fibre art and natural dye extracted from local plants and fruit. His best known are his dye-resist nature paintings, where he painte representational images directly on canvas without priming. He later included embroidered graphic lines on the canvas to give the effect of embossment. His landscapes had an expat nostalgia series, adding actual photographs of people in the past suggesting the pervading presence of human memory. In the ‘90s, his landscapes deviated into semi-abstractions on handmade grass paper made up of triangular blurs of blocked multi-color, leafed with gold foil. This was dissected by a vertical dividing line that stood for the horizon. The blue sky and shreds of grass beyond the line were done in a contrasting graphic/ realist style. Has also done tapestry inspired by basket, jewelry, and woodcarving design of the Ifugao, Tinguian, Maranao, Tausug, T’boli, and Bagobo tribes. From the Tinguian weavers, he took the technique of introducing accents and variety at intervals, by incorporating knots of cloth like musical notations, His own versions include minute marks and random siblings and accents of gold foil. Hi sprints on the other hand, had city life for recurring theme, elaborating upon them in abstract and theme, elaborating upon them in abstract and imaginative configurations that brought liveliness to the Phil print movement in its early years. Won 1st prize, SNSAC 1957, ’59 and ’65. Recd the purchase prize at the AAP Annual of 1964; and the grand prize at the 2nd AAP Graphic Art contest of 1967, and the Pratt Annual print show of 1972. Grand prize winner, Mobil Art awards of 1982. Recipient, Governor’s Awardee of the CCP for 1970. Recd the Patnubay ng Kalinangan Award from the City of Mla, 1980. [CCP Vol IV-AG]*** Inherited from his father, Manuel Sr, passion to experiment with traditional forms. In Mla, studied native weaving and ceramics, an in Japan, paper making. Explored the fine line between printing and painting. The printmaking techniques are exotic, but the images do not confirm to eastern art.
EMMANUEL
Fiber
30" x 21"
ND
HAC Code: 63695
ENCHANTED REFLECTION
Fiber
31.5" x 21"
ND
HAC Code: 51666
AFTERNOON REFOD
Fiber
29.5" x 20"
ND
HAC Code: 55097
STILL LIFE
Fiber
30" x 20"
ND
HAC Code: 59563
EVANS WOOD
Fiber
20" x 24"
ND
HAC Code: 79506
EDGEWOOD PARK
Fiber
31.5" x 19"
ND
HAC Code: 79055
RAIN FOREST
Fiber
30" x 20"
ND
HAC Code: 64212
RAMAPA LAKE
Acrylic on Board
22" x 25"
ND
HAC Code: 66086
EVANS PARK
Acrylic on Board
22" x 25"
ND
HAC Code: 55674
RAINFOREST
Acrylic on Board
32" x 23.5"
ND
HAC Code: 54312
Window Still Life
Mixed Media
41.5 x 29.5
-
HAC Code: 52079

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