A Prologue

In my opinion, in order to really appreciate Filipino art, one has to attempt to decode its amazing central core.  This takes time to unravel, layer by layer, stratum by stratum.

One such group that requires constant re-visiting is the Kaisahan group. The movement  flourished in the early ‘70s, and gave new meaning to artistic expression.  Art was no longer a medium for the passive; in fact,  it was not dissimilar to anti-government propaganda.  Visual art took on an active role to raise public awareness and it was socio-political, unafraid and quite brusque at times.  As such, one particular stratum that deserves special attention are works by Renato Habulan - regarded today as an iconic social-activist-artist, and was also founding member of the movement.

In  Habulan’s case, the artist battled his personal crusade which lay bare his aspirations and hope for the Filipino populace. Like over-sized stampitas,  the artist’s paintings represented the disparity and absurdity between religious, political and social ethics.  His renditions are skilled and exquisite, exuding a delicate and expert practice.  But also intricate to that solemn task, the paintings emanate a  style akin to the  emblematic Filipino psyche to maintain decorum - despite its harsh crtitcism.  As a result, Habulan captures the ironic beauty of human quandary, a skill privy only to true masters.

It is of no wonder, therefore, that the younger generations of artists continue his mark, emulate his style and mimic his motivations.  His undeniable influence is an artistic heritage that we are privileged to witness  during our time. 

Artesan is very proud to present a preamble of the artist, prior to his exhibition at the NUS Museum in 2012.

Roberta Dans

Director

Artesan Gallery + Studio

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