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(Excerpts from)
“The Uncommon Art of Glenn”
by Alice G. Guillermo
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Associate Justice Jorge C. Bocobo
Another important portrait of the period is that of Associate Justice Jorge C. Bocobo, commissioned by his son, Israel. Instead of doing a formal portrait, the artist superimposed symbols in circular and prismatic forms, on the face of the subject. Nonetheless, it achieves a striking likeness and the work itself was used as model for a commemorative stamp.
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Associate Justice Jorge Bocobo / Mural (9′ ft.x 14′ ft.) by Glenn Bautista
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Glenn Bautista also did a few landscapes in this period, one of which, entitled Carillon, alluding to the familiar feature of the university campus, foreshadowed his later concern with space. Almost abstract, the painting is minimal it its elements; its strong linear perspective serves to set off the large sweep of road, a modulating light blue against the burnt sienna of the surroundings, the structures of the buildings cropped and barely suggested. It is a work which bears affinities with the urban landscapes of Lyonel Feininger with their emphatic direction lines, structural aspect, and minimal detail.
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The UP Carillon & Abueva Gate Sculpture
(24″ x 36″ inches) University of the Philippine
Oil painting by Glenn A. Bautista
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Thanks RodS & Dan-dan for these two images of Ninong “Peping” Joya and my quick sketch I did in his drawing class. I merely visited the UPCFA in Diliman, QC when I met Ninong “Peping” on the fourth floor and he invited me to sketch in his drawing class. He gave me a sketch pad and a charcoal pencil to participate with his students. After I sketched, he got my sketch and talked about it to the class, having a deep understanding as to what made me do a skeletal and partially flesh drawing of the nude model. He said that only if one understands the human body can one come up with such an interpretative sketch . . . Ninong “Peping” gave time to be with people to encourage them to be creative, especially with me. We miss you, Ninong “Peping”. (at University of the Philippines, Gonzales Hall, Diliman, Quezon City, Philippines)
• Glenn A. Bautista: Here’re are some comments from Dan-dan’s previous posting of my sketch with Prof. Jose Joya.
• Glenn A. Bautista: Yes, Dan-dan, I remember this sketch . . . my godfather, National artist, Jose “Peping” Joya invited me to join his drawing class when I visited the UP College of Fine Arts. I remember him telling something to his class about this sketch. Can you take a better photo using daylight w/o the glare so I can include this to my art site? How did this sketch get to your mom? Can you ask her? Now, can you guess what the drawing is about? This is a rare drawing in a rare setting. Thanks for letting me know. Meron pa bang iba? Can you take good photos for my site? I know you have a few more pastels. Just angle the framed pastels so you don’t get the glare, and background it against a dark background so as not to have a reflection or mirror image. Thanks a lot .
• Dan Bautista: I didn’t ask how she got it. I’ll try to take a better pic next time uncle. I left the house na po kasi. Just wanted to share it, i bet it gives you a lot of good memories. June 29, 2012 at 7:53pm via mobile
• Glenn A. Bautista: Hi Bitoy, tennis ka pa? Musta sa pamilya. Lungkot dto sa tate. Lapit na kaming magbakasyon. June 29, 2012 at 9:31pm
• Enrique S. Bontia: Hi Glen this is Ike Bontia, i’m here in Dallas ‘san ka sa Tx? If you are in the vicinity let’s have coffee. June 30, 2012 at 5:13pm
• Glenn A. Bautista: Hi Ike, we are 270 miles apart, medyo long drive na rin . . . call me if you can: 469-964-8328 – July 1, 2012 at 9:40pm
• Rizalinda Bautista: Hi Glenn! this sketch has been with me for a long-long time. I think i salvaged it from a heap of things for trash when we were together in BF Homes. It’s crumpled and torn on its sides but I managed to fix it a little bit. I think I also have a sketch u made of Dondon as a very little boy playing near you while you were sketching-painting. This one didn’t have your signature tho but am sure it was around late 1979 to early 1980 when you sketched it. I will ask Dandan to take a pic of it to be sent to you one of these days. -June 27 at 8:56pm –
• Alfredo Roces: Glenn, I recognize tha back of Abe Cruz and beside Baby is Tony Quintos. Both Tony and Abe have left us. God bless, – Ding.
• Alfredo Roces: keep on writing about your times Glenn.
• Glenn A. Bautista: Yes, DingR, I have been digging up images from my hard disks and photos sent in to me by David, many of which I had not seen. Just organizing these images is not an easy task. But having the present digital tools right in front of me, I should not really be complaining. Now, I seem to understand why you love to write, a skill I have totally neglected. Thanks, DingR .
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UPCFA Schoolmates / 1963-69
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Pohl Soller † , Bert San Luis †
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Ernesto V Enrique: Familiar siya. Di naman natin kaidad?
Armand Bacaltos: Kasama namin sa Available Light Movement at Ma’s Concern singing group, Tats. Shell winner sa photography.
Armand Bacaltos: Natatandaan siguro sya ni Boy Y.
Ernesto V Enrique: Naalala ko na. Sumalangit nawa…
Lilledeshan Bose: I remember reunions at his mom’s house
Ernesto V Enrique: I-share ko lang kay Boy.
Armand Bacaltos: Di na nga nya naabutan yung awarding sa Shell.
Maria Natale: I can still see you playing the piano at Vinchu’s house that night. You are truly missed.
Armand Bacaltos: Santy and I were spared the grief of that tragic event as we no longer proceeded to Vichu’s place after coming home late from the Shell on -the-spot contest in Kawit, Cavite.
Edgar Salazar: We miss him
Len Francisco: Thanks for the memories, Pohl!
Glenn A. Bautista: I can still hear his low voice at d upcfa restroom, close to d mirror on d left corner, “pastor, ano pakulo mo ngayon? . . .
Armand Bacaltos: “Sayang talaga si Pohl, sana si Bert na lang” – Ben Navea ,,,,,”Putchat naman,e!” – Bert
Alex Gaddi: Really miss those characters. I should’ve spent more time with you guys after college.
Glenn A. Bautista: Bim, pati ba c Bert?
Armand Bacaltos: Yup, RIP.
Glenn A. Bautista: “namputchat naman. . . d bale, kitakits na lang sa kabila . . .
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UPCFA Schoolmates – Locker Room / 1963-69
Front: Hector Lopez, Bim Bacaltos, Ody Francisco †
Back: Glenn Bautista, Pohl Soller †, Bert San Luis† , Alex Gaddi, Ed Monariz, Bon Reyes,
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Ernesto V Enrique: Familiar siya. Di naman natin kaidad?
Armand Bacaltos: Kasama namin sa Available Light Movement at Ma’s Concern singing group, Tats. Shell winner sa photography.
Armand Bacaltos: Natatandaan siguro sya ni Boy Y.
Ernesto V Enrique: Naalala ko na. Sumalangit nawa…
Lilledeshan Bose: I remember reunions at his mom’s house
Ernesto V Enrique: I-share ko lang kay Boy.
Yesterday at 11:23am · Like · 1
Vinchu Lapid: September 25th was our friend Teresa’s birthday. That’s why there was a party. She’s in heaven now too. RIP
Maria Natale: Si Ody din RIP na di ba?
Vinchu Lapid: Dami na Medy. Sonny too.
Maria Natale: We should really stay in touch these days! Keep the good friends near.
Glenn A. Bautista: That’s good info, Vinchu . I was in Santa Barbara, CA and when I learned – – I burned my right eyebrow while cooking (oil spilt) and hurt my right fist ‘coz I boxed the kitchen door – my landlady was so surprise . Noli went on straight with his letter about Pohl’s crossing over. Here I was in this link – -> when I re-visited my art studio and school in Santa Barbara together with some of my high school mates last May-June 2013:
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“Excerpts on My Art”
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Coralscape ’84 – pastel by Glenn A. Bautista
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The Uncommon Art of Glenn Bautista
– by Alice G. Guillermo
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Glenn A. Bautista: Maria, Ody slept with me for a few days when I was staying in San Francisco del Monte, QC. His small car was so heavy and I was surprise to find out what was inside . . .
Maria Natale: The Volkswagen!
Glenn A. Bautista: Maria, it didn’t look like d Volkswagen, that was Bing-bing’s, right? Perhap’s this was Sarah’s time . .
Glenn A. Bautista: Naalala ko tuloy yung kwento kay Rebillion na nakaitim at mahaba ang buhok . . wala na siguro yung “citroen” nya na may butterfly sa taas ata? Cno ba nag kwento nito?
Glenn A. Bautista: Sinong online sa facebook video chat, parang masarap mag tsismis, hehe . . ?
Cary Abeleda: It was me!! Didn’t get to see his wheels though.
Glenn A. Bautista: ah, that’ right, Cary . .
June Dalisay: Pohl, gentle and sweet, in our hearts you sleep
Rene Panlilio: yes, i remember Pohl, tahimik…
Glenn A. Bautista: Is this the June I know? . . musta na?
Glenn A. Bautista: Tahimik c Pohl pero pag tumawa, super lakas at tuluy-tuloy . .
I can still hear him laugh.
Emmanuel Garalde: Thank you Bim. Forgot about September 25. The day started with us shooting the ROTC parade in review at the sunken garden. There was so much happening and excitement. We took a lot of pictures. A guy running in the middle of the field in uniform then, taking it off and setting it on fire. Then a group of ROTC officers giving him a flying kick and beating him up. Remember, this was during the height of student activism in UP. After this event we went to Vinchu’s house. He must have been so tired. But very happy. He was joking and laughing a lot. We did not know he was sick. His heart just stopped!
Imelda Cajipe Endaya: Remember Pohl. Was it 1971, Bim? Parang earlier pa, I think we were only 17 or 18 then.
June Dalisay: Yes, Glenn, this is JUne Poticar : )
Peggy Bose: Happy birthday , Pohl. We remember you in our prayers.
Emmanuel Garalde: Yes Peggy. Let us remember and pray for Pohl, Santy, Ben, Bert, Ody, Sarah, Ed M., Sonny Barros, Tanglung Simpliciano.
Peggy Bose: And Sonia Barros and Liza Salazar. And Papu Leynes and Ed Araullo and Egay Navarro. I do enumerate them , and us too, when I pray.
Armand Bacaltos: Meps, yes it was…can’t ever forget the date. Must be ironically because Santy and I weren’t there when it happened that made it more unforgettable.
Imelda Cajipe Endaya: Lord God, thank you for the lives of those who have gone ahead of us. Eternal peace to their souls. And grant Your light and grace to us who continue to live earth’s journey.
Vinchu Lapid: Ang dami ng gone. Thanks for the list Noli and Peggy. I will be praying too. And I pray for our health specially Glenn’s and Beth Garalde’s and Ed Soriano’s.
Thelma Aranzaso Soriano: Hi Vinchu ! Hi everyone! Ed says thanks for remembering him. Yes let us pray for good health and accepting old age is a reality !!!!
Donna Lynn Abaya Caparas: Hey, that’s Uncle Babut. Thanks for sharing.
Teresa Liceralde Elloso Celdran:Yes, let’s keep praying for our friends’ who have gone ahead of us and most especially for their families and friends they have left
Teresa Liceralde Elloso Celdran: …they have left behind. Yes Pohl Soller, the boyish man behind the camera…you will always be remembered.
Melinda Soller-Abaya: To all the friends of Pohl…. Thank you for your prayers. We truly miss him.
Vinchu Lapid: Thelma, Prayers for Len’s Tata too.
Sonia Carreon: Thanks for the tag, Bim. So sorry to learn about the passing of Pohl just now. I remember him well with that colorful vest and his camera. May he rest in peace of the Lord.
Emmanuel Garalde: Glenn, Pohl’s negatives might be in your house in BF. Lots of memories in those fotos.
Len Francisco: (Vinch, thanks for remembering Tata! Praise God talaga, he’s recovering!) Diba somehow Sept 25 always reconnects us? We have that to thank Pohl for. Parang ngang it hasn’t been over 40yrs since, and looking at this photo brings back plenty of fond memories. I’m praying that by God’s grace, we will all have the next (many more) years to look forward to–joyful for every day of fresh new mercies, grateful for dear family and friends, still able to do the things we love to do kahit with 50% the energy (pati lakwatsa, and adventure like Medy), AND surviving–with a smile, even better-laughter, and the least kasungitan, worry and anxiety–everything that aging brings. Aray! Araguyguy! Arouch! Masakit lahat… (osteoarthritis) Nako saan ko ba nailapag yung salamin ko? Ay suot ko pala!! (memory lapse) Wow sarap! Crispy dinuguan, crispy pata, lechon kawali! Not!! (cholesterol) Pakagat lang please sa Krispy Kreme o J.Co doughnut na yan!!! (blood sugar)
Len Francisco: Salamat Bim for posting and tagging, at salamat rin sa mga Joaquinisms. Pampasaya ng araw, keep ’em coming!
Emmanuel Garalde :Good P.M. , nice to hear from you Manang Linda, Do you still have Pohl’s Album. I would like to copy them.
Thelma Aranzaso Soriano: Sept 25 1971 will forever be in my mind! Remembering Pohl and Teresa! We miss you !
Glenn A. Bautista: Len, sis . . may pangkontra naman sa lahat, choles & Inflamm–>krill oil, sugar–>cinnamon, osteoarthritis-ginger & dr, scholl orthotics, pain –>search “melt method”, walang gastos . . just ask dr. glenn, ok?
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Flutescape – Second Prize / UP Baguio Students’ Art Contest, Baguio City, Philippines
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Emmanuel Garalde / Glenn A. Bautista
July 27, 2011
Emmanuel Garalde: Glenn, remember this. I took a picture of this painting with my phone. The painting is at the executive house, the residence of the U.P. president inside the Diliman Campus. The U.P. president is Fred Pascual, husband of Menchu Martinez, kasabay natin sa Fine Arts.
July 27, 2011 at 5:05am • Unlike • 1
Glenn A. Bautista: Yes, Noli. I distinctly remember this artwork. UP Pres. S.P. Lopez asked me to see him at his office (admin-where the Oblation is) and found this artwork hanging on his office wall. This was my entry for an On-the Spot art competition in Baguio that placed 2nd, I think. I think you were there too, got bored and headed home to Manila. The proud Glenn protested that this artwork should have been 1st place, hehe. Lito Carating got the 1st place. I didn’t know that then, when I protested. I had to explain that to Lito after the competition. Because of this incident, Pres SP Lopez commissioned me to do a wall mural 12 feet x 36 feet for his office (admin). There were times when the Board of Regents met with SP, and I was asked about certain issues concerning UP while I was up there on a scaffolding painting, hehe.
August 21 at 4:31pm • Edited • Like
Glenn A. Bautista: Exchanges with Meps: Imelda Cajipe Endaya: What’s the year of this painting?
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Campus Crusade for Christ & UPCFA Art Students
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Campus Crusade for Christ & UPCFA Art Students
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Cut-Outs 1980 / Kunstakademie / Dusseldorf, Germany
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1980 – 1985: Glenn A. Bautista,
Art Student/Kunstakademie,
Dusseldorf, Germany
http://glennbautista.com/art/cutouts.html
http://glennbautista.com/art/pastels.html
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In West Germany in the mid-eighties, Glenn Bautista would do a view from his third floor window, a section of city-scape bring to the fore environments’s geometric and structural features, the principle of order in a rational and industrialized society. (AGG)
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A quality which is remarkable in this works and in all the others is that of impeccable draughtsmanship, at the same time that technical discipline is felicitously wedded with artistic insight. (AGG)
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Future’s Past Vergangenheit der Zukunft
by Alice Guerrero Guillermo
Undoubtedly one of the most gifted artists of his generation, Glenn Bautista believes in total creativity. Wide-ranging in his production, he has distinguished himself in painting, whether in oil, pastel, or watercolor, in printmaking, particularly lithography, and in sculpture, freestanding or relief. He knew his artistic vocation from an early age — he was born in 1947 in Orion, Bataan — and he has since pursued his career with a single-mindedness of purpose.
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Thus, he graduated with a degree of Fine Arts from the University of the Philippines in 1969, and on a scholarship grant, took further studies at Brooks Institute in Santa Barbara, California where he graduated with honors in 1971. He has recently come back from Germany where he specialized in lithography at the ‘Kunstakademie’ in Dusseldorf and experimented with new materials and processes.
Bautista’s recent shows cover his artistic production for the last three years, with most of the works done in Germany. It is significant here to note that during the time he was there, he won an ample measure of critical recognition as his works have become part of the permanent exhibit at the Galerie Art 204 at Rethelstrasse, Dusseldorf, in the company of the works of Josef Beuys, and the masters Chagall, Dali, and Miro. His one-man show at the Gallery Genesis this September attests to his prolific expression and consistent excellence and includes works in various media: paintings in pastel, mixed media works, collages, and works on handmade paper, photographs, lithographs, and cement sculpture.
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Glenn Bautista started in the mid-Sixties as a painter of religious subjects and portraits. From the start, however, his art bore the stamp of his spontaneous originality which is the constant characteristic of his work. His early paintings of religious subjects done in the idiom of transparent cubism, more curvilinear than geometric, and which had a luminous stained-glass effect, endowed the traditional subjects with a new freshness and spiritual insight, While these early works were orthodox Christian, the religious aspect of his art acquired an increasingly eclectic character, drawing in elements and concepts from Asian religions to create a spiritual synthesis and unity of religious worship. [Inner-Light] In the Seventies, the imagery of his art moved from the religious to the surreal, as in his Inner Light Series, 1975 in oil on canvas, with titles such as Buried Time, Aquascape, Firefly, Transience, and Woodscape. It is, however, important to note that the surrealism of Glenn Bautista draws its original principle from his religious works. The sacred aura and luminous presence of his earlier works became gradually shifted to another context, this time the surrealist vision. [Pastels] How are we to define the specific character and quality of Glenn Bautista’s surrealist vision by which it distinguishes itself from the work of other surrealists? In terms of quality and feeling, it is, as we have earlier mentioned, drawn from his early religious consciousness. Thus, whether the subject be interplanetary outposts in a desert space, or trees and organic growths, it bears a spiritual presence beyond the original religious source. This abstractized religious quality is conveyed through the style itself, and, to a large extent, by the pastel medium as it is used by the artist in his individual style. In his hands, pastel assumes a rare suppleness, which, however does not preclude the clear and precise articulation of detail, the aura, spiritual or magical, is the effect of his exquisite control of light and tone. It is indeed surprising what a large tonal range can be accommodated within a small format of twelve and one fourth inches square. Often, light shines from within the forms like mysterious and beckoning Grail. It may flood valleys and gorges in a soft radiance that contrasts with the raggedness of the cliffs rising around. Light falls, like cascades, like torrents, like silent water down the slopes or the steep inclines of unknown mountains. With the light, color modulates from the purple to rose to orange with shades of gray, as the hues are brought out in all their original vividness and in their entire range of expression. Because of the intense concentration of imagery in a small format, along with the artist’s mastery of his technical means, and the flexibility and suppleness of his handling, many of the works achieve the macrocosmic dimension in their visionary scale. A small work — significantly, a square field with its equal sides — contains features on microcosm, which, in their rich and intricate interrelationships, project infinitely into a vast macrocosm, the multiple universe of endless space. The tonalities of light and dark when put into service of the linear perspective of surrealism create a trajectory into infinity, above and beyond the painting’s visual field, particularly since the artist does not mark a horizon line but telescopes, structures and crops the boundless image within the confines of the ordering square. [Abstractions] In fact, in a number of his works, Bautista has modified traditional perspective of linear convergence into more complex formulations. In some striking works, the schema of perspectival lines is elaborated into a contrapuntal network of lines that touch at points, separate and recede in an irregular zigzagging movement. The pool or subterranean depth from which a light wells out and radiates from a series of concentric layers and softly articulates the environing shapes. Another kind of perspective is off-centered and asymmetrical, as in semi-circular low-lying valley or river basin that interplays with steeply rising cliffs or a flat desert. The point of view from high Olympian vantage points is omniscient, spanning an immense temporal and spatial distance. [Heaven&Earth Oils] Thus, in these images of mystical evocation, the primitive archetypal past and the interplanetary future converge, as they reveal (and the artist has identified this as a central theme) underlying similarity of structures. The winding and tortuous mountain trails of what seems like an abandoned sky-city of Andes, Machu Picchu, perhaps, find a contemporary echo in the elaborate system of gas pipelines in a highly industrialized region, the Ruhr in Central Europe, for instance. For one, however, the images of ancient cities and ghost trails in inaccessible mountain fortresses often include the element of the organic, in the allusion to strong and ancient roots that reach down into the depths of the earth. On the other hand, the images of pipelines and what they signify of advanced industrial technology convey, in their formidable metallic structure a latent protest against dehumanization of man and decentering of his unique personality by the mammoth of mechanization. The concept of an inexorable industrial ‘‘progress’’ and the toll to the human spirit that it exacts coalesce in the powerful image of the bird’s claw with its avid and cruelly pointed talons that seem to spread out from a hard center of unrelenting steel. [Folded-Cut-Torn Pastels] In all the pastel works, however the sophisticated sense of structure the interplay of past and present and of the organic and mechanical the atmospheric space, and the quality of light blazing like a flare or softly phosphorescent-like marine forms glowing in a subterranean seas, are constant themes, of which the primary is the pervasive aura of spiritual presence the mystical, now abstracted from original context of religious orthodoxy. [Art Photos] [Insects/Photos] The same imagery as in the pastel works occurs in the photographs which are instant constructions, usually of sand and found objects, combined with sculptural forms, photographed in site. Close-up photography lends the subject of shells, rocks, and leaves, chambered nautilus, and an occasional surprise, in a rearing head of Christ, the illusion of actual existence, because of the camera’s natural function of recording material reality. It is best to relate the pastels to the photographs and vice-versa, because such comparative viewing brings out keenly the way in which a subject undergoes a shift in meaning as it is transposed into a different artistic medium. In these works, the artist is intrigued with the variation of existence of a visual sign appearing in art. In fact, the same concerns and interests which may easily grow into obsessions, also find expression in the cement relief sculptures which give the subjects another, a third, dimension of existence, this time three-dimensional with solid mass and texture. [Bas-Reliefs] In both the pastel works and the cement reliefs, the format is square, thus pointing to a real interrelationship. The textured white fields of his reliefs correspond to the desert sands of the pastel works as well as to the fine beach sand in the photographs. It becomes clear that in Glenn Bautista’s works, sand is a medium, actual or illusory, which, like water, is an essential part of this surrealist vision which both conceals, submerges or blankets like snow at the same time that it reveals and exposes mysteries of the unconscious. [Collage-Drawing] The artist rises to the conscious level and reckons reality in all its color and movement in his big collages that take off from posters and in his smaller works of mixed media that combine collage, line drawings, pastel passages and rubbings. Done in Germany, these show the contemporary First World urban environment impinging on the artist’s consciousness from all directions. The imagery of these works conveys the sophistication of cineclubs, theaters, and outdoor cafes the very structure of a well-ordered bourgeois urban milieu in the rubbings of fire hydrants, manhole covers, street signs with the immediacy of their textures, and in the vintage appeal of Chaplin posters in the context of European pop. [Cogon-Abaca Drawings] Not to be overlooked is a collection of small works on paper — particularly finely textured handmade paper from cogon and abacaproduced in Baguio studio-workshops. On these, the artist has painted with pencil and pastel European landscapes of a more familiar and reassuring scale and on-the-spot renderings of elements of the urban scene: houses, doors, windows, interiors, with particular interest in their framework and structural features. In these he has consciously brought out the textural particularities of the handmade paper to become elements of meaning in the image as a whole. At times, one senses the superimposing of two planes of existence, the European and the Philippine in the medium and the image, at other times, these two planes originating from different cultural contexts and sensibilities, remain separate and apart. [Garland Pastels] But there is always and increasingly more in the art of Glenn Bautista whose artistic creativity is multifaceted and multidirectional. His lithographs, for instance, can challenge the best in the international scene. His surrealist works are true individual reformulations of that probing vision. In his works, form and vision seem to vie with each other in their pursuit of new directions and discoveries in the vast unending field that is his artist’s terrain and which he explores in its dimensions of time and space and in its surface life and materiality as in the deep and subterranean movements and phenomena of man’s other self. About the Author: Studied at the College of the Holy Spirit and the Universite’d Aix-Marseille in France as a scholar of the French Government. She finished her Ph.D (Philippine Studies) at the University of the Philippines with the dissertation entitled “Protest/Revolutionary Art in the Marcos Regime”. She was the recipient of the Art Association of the Philippines Art Criticism Award in 1976. She also received the UP Chancellor’s Award on Best Research in 1996. In the same year she was a Research Fellow of the Japan Foundation in Tokyo. She is married to the poet Gelacio Guillermo and has two children, Sofia and Ramon. . .
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