Interior Pix – GlenLornDav Gallery-Studio

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Interior Pix – GlenLornDav Gallery-Studio – Part 3

Photography / David Cruz Bautista

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(click images to enlarge and hover mouse to read captions)

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. Same room where David's drum set is now.

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Same room where David’s drum set is now.
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“Woodscape”– by Glenn A. Bautista – (4’x8′ ft) Acrylic airbrush painting on the wall – 1979 November
– Critics’ Choice, Manila Mandarin Hotel, jointly sponsored by the Philippine Commercial & Industrial Bank and Ma-yi Associates

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Kitchen tools . . .

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Video: Window Screen – -> GlenLornDav Art Gallery /

BF Homes, Paranaque City

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Lorna was delighted to see this window screen at Wilcon Builders Depot and thought that it might be good for the GlenLornDav Art Gallery front window – – true enough it worked for the art gallery’s aesthetic . . . here’s the video David took with his cell phone — at BF Homes, Parañaque – (click –> link to Facebook)

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Art Talk/Exhibit – Easter Sunrise Service Houston Trinity UMC

 

by glenn.angeles.bautista

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Easter Sunrise Service

Houston Trinity United Methodist Church
Katy, Texas April 3, 2010 / 9:30AM

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Lorna and I were already up and about early Saturday morning for our trip to Katy, Texas. We left shortly before 10AM for Katy taking freeways I-45 N and I-10 W. In less than an hour, we arrived at Pastor Butch Ramirez’s residence just to discover that nobody was home.

Anyway, I called him by cell phone to find out that he was at the Houston Trinity UMC preparing for the Easter Sunrise Service. In less than 10 minutes, he was waving at us from his place when we were coming back from a stroll, stretching/limbering our legs and bodies from the not too long a trip from Houston to Katy.

Not too long from then, we found ourselves at the kitchen talking, drinking coffee, tea, eating home-made “suman” (rice cake), courtesy of Obed, their Filipino cook prepared by wife, Lerree whom Pastor calls “dahl”, maybe a shortcut of “darling”, hehe. We spent the rest of the afternoon at the church to have an ocular of the place where I would conduct my “Art Talk/Exhibit”. We then arranged the long tables and chairs for my art presentation.

Headed back home to print my message for Easter and didn’t have to eat dinner since we had several pieces of chicken at the church that late afternoon. Anyway, the next day Sunday, we left their residence by 5:30AM for the Easter Sunrise Service at Houston Trinity United Methodist Church.

Before I knew it, I had already delivered my message and conducted my “Art Talk/Exhibit”. It was a fun Easter day spent with a majority of Filipino congregation and a few Americans. We stayed around at church until 4 PM just chatting with a few friends and headed back home to Houston.

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Easter Sunrise Service

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Art Talk/Exhibit – Easter Sunrise Service Houston Trinity UMC
(click image twice to enlarge)

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Recent Visit
with
Pastor Butch Ramirez


(more- -> click on yellow & blue active titles above)
Houston Trinity United Methodist Church – (11/10/2013)

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. Pastor Butch Ramirez's message this morning,"rebuilding God's temple" is threefold: rebuilding our physical body, rebuilding our beloved motherland, "Pilipinas" (typhoon "Yolanda"), and rebuilding anything that was whole, tangible or intangible. Such an amazing message, come to think of it . . .

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Pastor Butch Ramirez’s message this morning,”rebuilding God’s temple” is threefold: rebuilding our physical body, rebuilding our beloved motherland, “Pilipinas” (typhoon “Yolanda”), and rebuilding anything that was whole, tangible or intangible. Such an amazing message, come to think of it . . .

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Badong Ramirez (68) – Apr 5, 2010

Glenn, in behalf of the Houston Trinity UMC and the First Filipino-American UMC, please accept our gratitude for accepting our invitation for you to preach in our Joint Easter Sunrise Service. Salamat na rin for making a presentation of your art works to us. We were all impressed by your works and your desire to share it with us, free of charge.

May the Lord continue to bless your God-given gift of art, preaching, and music. I was surprised to know and hear Glenn playing the piano with ease.

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Glenn’s 2nd Message @ Houston Trinity UMC

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April 18, 2010 – 10:30 AM

Pastor Butch Ramirez of the Houston Trinity United Methodist Church invited me to speak again for the April 18, 2010 10:30 AM Service after he learned that the the manuscript I had for the April 4 (Easter Sunrise Service / 6 AM) was not at all sourced nor read by me since my message turned out to be more extemporaneous than verbatim. But, again, I couldn’t help but just eyeball-speak to the congregation for whenever I tried reading from my prepared manuscript, I felt distanced from the congregation, enough to make me feel that I would lose contact with them. So, although nothing of my previous message was repeated, I started and ended delivering an extemporaneous message, again. This brought laughter both to me and Pastor Butch Ramirez when I got seated with him after my message that morning.

So, Pastor Ramirez hinted that perhaps the best I can do for any next message I will have to deliver would just to have outlined “cues” just to guide me in making an extemporaneous speech. Well, I guess this is what I will do the next time I am asked to give a message for my future audience.

I found out one thing though – – that is, that I do enjoy communicating my thoughts to an audience especially when it comes to sharing with them my experiences as an artist in the past and recent years that I have been in solitude. After the morning service, we stayed on at the church for breakfast and interacted with the young and adult members of Houston Trinity UMC. After a while, Lorna asked me to drive her to Costco for shopping.

By 4 PM we were done with Costco and proceeded to Pastor Butch and Lerree’s place for our UHS reunion. The photos above are a few that Lorna and I have taken using my Motorola Droid cell phone. I took a lot of videos too and may upload them as soon as I am able to. Again, I thank the Ramirez family and Houston Trinity UMC and my high school mates for making April 18, 2010 a very memorable and enjoyable Sunday. On our way home a strong rain kept us entertained via freeways I-10 and I-45. In less than an hour Lorna and I were home, safe. Thank you Lord for that blessed day spent on the other, western side of Houston, Texas!

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Glenn’s CyberArtPages 1963 – 2013 on . .

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    C O M P L E T E    L I S T

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BYRON KING’s CAR-STUDIO
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Mon, Sep 30, 2013 at 10:57 AM – Byron King
10:57 AM (3 hours ago).
to GLENN:
Thanks Glenn. Don’t we have a lot in common. Wow. A space to work is easy to find if one looks for it. When I showed my work I loved telling people I made them all in my car during lunch break. The reaction I received was always interesting. Most artists I know are so into their studio space that the work is almost secondary. The studio becomes a part of their identity. I checked out your books.
So cool you were able to get that much work done.
Thanks for sharing.
Best,
Byron King.
. . . . . . . . .Hi Byron, I thought of sending you this excerpt from my diary after viewing you in your car-studio.
Take care, my friend. – – gb
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Since I arrived in the US, May 2009, from the Philippines, my wife, Lorna, gave service from early morning ‘til dark, to home care patients to many remote places here in Texas (Houston, Pearland, Baytown, Anahuac, Liberty, Mont Belvieu, Crosby, Dayton, Winnie, etc.). Since, most of the time, I drove for her, I would spend my time, (forty minutes to an hour, each patient she cared for) inside the then, Toyota Matrix and now, RAV4 ’10.
I just found myself writing my thoughts to become narratives, short stories, to a book, then several books. Not a dull moment, indeed, I would recall. Now, that we are somewhat situated at the center of Houston, TX, Medical Center, I spend more of my time, after golf normally, at the fourth floor one-bedroom apartment, still writing to friends over Facebook, WordPress blog and Gmail. I find myself happy being able to write even in my simplest way, for I did not have any training in writing or the interest to write until the need had arisen. I guess, we can say, there really is a time for everything – – everything in God’s time.”
In this “Glenn’s CyberArtPages 1963-2013 on”, I have recently resumed updating the images, links and description and so far, these blogs have yet to be worked on and completed, if there is such a thing as “completing”. This is one thing I do at present that keeps me busy, occupied and entertained. Thank you so much for keeping me company and appreciating my little efforts to even attempt to write my “memoirs”, as encouraged by my dear friend, Alfredo Roces, who I casually call, “dingR” . . .
Blessings,
glenn.angeles.bautista  

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Alfredo R. Roces
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Thank you so much for keeping me company and appreciating my little efforts to even attempt to write my “memoirs”, as encouraged by my dear friend, Alfredo Roces, who I casually call, “dingR” . . .
Blessings,
glenn.angeles.bautista

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. Chatswood Festival  2013 by DingR:                                          http://dingrocespo.blogspot.com/2013/09/chatswood-festival-2013the-theater-group.html DingR, I can imagine the phantom perform, smell the amazing orchids, enjoy the beating of the drums, the parade, the band and didgeridoo's music, while the introspective Buddha watches them all resulting  Lcristina Bautista, Louie N Jane A, Alfredo Roces and 3 others like this. Alfredo Roces: Wish you had been with us here Glenn A. Bautista - September 18 at 8:35pm  Glenn A. Bautista: That would be great, DingR . . . perhaps, that day will come, in God's time . . . btw, I placed the link to your blog and my comment here 'coz I couldn't at your blog site even my blogger was active, but it could be done before .  - September 18 at 9:04pm

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Chatswood Festival 2013
by DingR

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Glenn A. Bautista: DingR, I can imagine the phantom perform, smell the amazing orchids, enjoy the beating of the drums, the parade, the band and didgeridoo’s music, while the introspective Buddha watches them all resulting
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Alfredo Roces: Wish you had been with us here Glenn A. Bautista – September 18 at 8:35pm
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Glenn A. Bautista: That would be great, DingR . . . perhaps, that day will come, in God’s time . . . btw, I placed the link to your blog and my comment here ‘coz I couldn’t at your blog site even my blogger was active, but it could be done before . – September 18 at 9:04pm

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.Glenn & Lorna's Rav4 2010

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Glenn – Lorna Cleaning Day for the RAV4-2010

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Glenn Bautista & Steve Jobs  . photography / David C. Bautista

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Glenn Bautista & Steve Jobs
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photography / David C. Bautista
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While David and I were walking around Makati, he suddenly asked me to sit down in front of the books that featured Steve Jobs. David said, “look Dad what you and Steve Jobs are wearing . . . “, that was in front of “National Bookstore” in Makati.

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My PGA Pro Golf Instructor reading my book, "Mirror-Image Swing Plane". / Melbourne, Florida.

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My PGA Pro Golf Instructor, Jack Henry Saffold, reading my book, “Mirror-Image Swing Plane“, Jupiter, Florida

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Not so much of what I imagine a  ’universe or cosmic-scape’ could be, but more on the possibilities of what any drawing tool can lead me to, e.g.- a quick mathematical progression from small to large doodle can make a futuristic-scape exhibiting a foreground, middle-ground and a background. These pencil-pastel sketches are the result of this creative thought and of course, its variations, posing no limitations.- g.a.b.

The Universe

by Glenn Bautista – https://glenlorndav.wordpress.com/2013/09/17/the-universe-by-glenn-a-bautista/: Not so much of what I imagine a ’universe or cosmic-scape’ could be, but more on the possibilities of what any drawing tool can lead me to, e.g.- a quick mathematical progression from small to large doodle can make a futuristic-scape exhibiting a foreground, middle-ground and a background. These pencil-pastel sketches are the result of this creative thought and of course, its variations, posing no limitations.- g.a.b.

 

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A Foreword” by My Beloved Ninong “Ernie” Salas

– on Glenn’s book, “The Uncommon Art of Glenn”

 

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Glenn & Lorna / Estes Park, Colorado

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Bloglist Titles:

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B A U T I S T A     F A M I L Y :

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ARTWORKS:

Excerpts on my ART / by Glenn Bautista

“Rizal” / pen & ink” – 1966

“EMBERS”, a mural by UPCFA art student, Glenn A. Bautista

Portraits by Glenn (1965-2002)

Digital-Analog Collage/Drawing

2009-10 Colorado Pastels by Glenn A. Bautista

Meditation – “In Search of the Divine” 

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PHOTOGRAPHY:

Close-up Photography by Glenn

MosquitoByte

Life’s Insectscapes & Bob Dylan

Ang Batang Pilipino by Glenn

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ACTIVITIES:

Art Talk/Exhibit – Easter Sunrise Service Houston Trinity UMC

Rtn. Dir.”Glenn” meets w/ College-friend PP “Sue” again

On Cleaning / Repairing Kawai Piano, etc . . .

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PUBLICATIONS:

A Foreword by My Beloved Ninong “Ernie” Salas

Glenn’s CyberArtPages 1963 – 2013 on . . 

TXSBN Press Releases 2013 / Visual Artist – Glenn A. Bautista

from glenn to glenn“ 

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INTERVIEWS:

PATMOS Interviews Glenn A. Bautista / Portrait of the Artist /1976

Byron Interviews Glenn

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RESEARCH:

On Filipino Tribal Tools, Weaponry, Instruments & Writings

Some Casual Thoughts behind “The Ideal Filipino Community”

The Ideal Filipino Community by Glenn Bautista

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GLENLORNDAV / GALLERIES:

David & My Vintage Photos

 Interior Pix – GlenLornDav Gallery-Studio

GlenLornDav-Gallery Renov / BautistaFam Reunion-Sept ’12

Pix / BF Gallery-Studio Renovation / Sept ’12

On Cleaning / Repairing Kawai Piano, etc . . .

Out of God’s Grace

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FRIENDS:

Ma’s Concern, CAFAsingers & Gentle Rain (ALM-BLM) / ’63-’69

A Letter from Gicky

Claro’s FOTOS

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EDUCATION:

My ’63 -’69 UST / UP Days

My UP (Peyups) Days / 1964-69 & Kunstakademie/Guest Student / 1980-85

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Pix / BF Gallery-Studio Renovation / Sept ’12

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Pix – GlenLornDav Gallery-Studio – Part 2

Photography / David Cruz Bautista

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View from inside garage - David's white Honda parked outside.

View from inside garage – David’s white Honda parked outside.

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(click images & underlined titles to view)

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Photo: by Glenn A. Bautista

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Photo: by Glenn A. Bautista

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Photo: by David C. Bautista

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Photo: by Glenn A. Bautista

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Photo: by Glenn A. Bautista

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On Filipino Tribal Tools, Weaponry, Instruments & Writings

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David, Wawi, Byron & Glenn – On Filipino Tribal Tools, Weaponry, Instruments, Writings–            On Tribes in the Philippines 

(Click on images, underlined active titles to view)

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Byron: Glenn, when I was speaking of religion in the Philippines, I was speaking about the indigenous people’s original belief system. There were many. Before the Philippines were taken from the native peoples. I’m sure they were more like the native American religions. Interesting . . .

http://asiapacificuniverse.com/pkm/spirit.htm

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Byron King, creator of Globatron.org

Byron King, creator of Globatron.org

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Glenn: Byron, I’ve gone through the article from the link you sent to me, but I guess, this requires much research and time for me to presently get into. I can only speak of my brief meeting with the Tagbanua tribe in Palawan when I stayed for half a year in Narra, a few hours north of Puerto Princesa. My brief meeting with the tribe was not really that significant. An anthropologist- friend, Israel Cabanilla, who used to work with Robert Fox mentioned to me quite a number of stories of his encounters with a few unknown tribes. Of those tribes already known, they by now, dress, behave, think and live almost the same as the rest of the lower classes of our society, although not in a similar habitat. They cater to the needs of residents and tourists around their areas. I had met with one tribe in Palawan numbering around 14 members. Our meeting was brief and I was not at all interested in documenting and exposing them, lest they become like the rest of us. I did a bit of doodles about their tools, weapons, clay pots, instruments and basketry. In general, most of the tribes my friend knew of, and those I met were gentle people. The only danger my friend once encountered was when a ritual dance was done in his presence to clarify his status with the tribe, that is, if the half-cut neck and head of a chicken shifts left, he would be an ‘enemy’ of the tribe, and when it shifts right, he would be a ‘friend’.

Members of the tribe, according to my friend, use a similar instrument which they call, “saluray”, made of bamboo where long and short string-like skin of the bamboo are wedged out to create sound when plucked, much like banging a guitar. However, what makes this instrument more interesting is, when played in real life as a ritual, it is used to dance with while crossing a ‘bonfire’ numerous times, while beating the saluray on to their chests, chanting until they hallucinate. Of course, some forms of drug, or “betel nut” may be taken to enhance the ritualistic dance.

This is somehow, indicative of how a tribe copes up with decision making, based on an induced natural phenomenon. Somehow, nature, or its behavior is their basis both for their physical and spiritual longings. So, the elements: fire, water, earth, air, wind, sun are always there for them to react to and make use of the best way they can. Along the way, superstitious beliefs are formed and they are too many to mention, passed on from one generation to another.

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David’s Undecoded Alphabets

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My correspondence with Wawi , a great young visual artist, is the reason why we have these cyber-pages of my research on Filipino phonetic-syllabic handwriting. I had to go back to the some stories behind for the readers to understand the significance of such exquisite handwriting, which topic got initiated upon Wawi’s invitation to a lecture on the Mangyan tribe.

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Since he was a baby, a toddler and a young man, David has always been my buddy, my companion and really, "the apple of my eyes". I miss every second that I am physically not with him. In heart, mind and spirit, we are always together. Love you, David. -dadG

Since he was a baby, a toddler and a young man, David has always been my buddy, my companion and really, “the apple of my eyes”. I miss every second that I am physically not with him. In heart, mind and spirit, we are always together. Love you, David. -dadG – – – (this photo must have been taken either by Tiny or Jmel Nuyda at their place in BF Homes, Paranaque. David sent this photo to me yesterday before he hit the hay while chatting on Facebook.)

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And this page I am writing about started just because of my 11 year old son’s urgent desire to communicate solely with his intimate friends in school to avoid being understood by his other classmates who do not really belong to their so-called “culture”. At first, it was my German book that he tried to learn and share with his friends but, proving to be too difficult and taking too long to learn, David thought of other ways to communicate which would not require so much study and research. He was starting to make his own drawings, alphabets and icons that may only be associated with his group, but finally stopped in desperation in achieving his goal and shifted his interest to “rock climbing”. Here’re his leftovers and a few notes I did in Palawan and at the National Museum.

So far, I have not heard of any effort done by the government, nor any of our scholars of the vernacular or national dialect which is Tagalog, to digitally transform the original Tagalog Phonetic/Syllabic to digital icons that may have their applications to the present confused Filipino society. My experience tells me that truly, these original Pre-Hispanic alphabets can have their present applications for I had used this Tagalog handwriting to communicate with my ex-German wife, writing each other in Tagalog, English and German, for writing the sounds of any language with these Tagalog Phonetic/Syllabic Alphabets is what makes it work and be understood.

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My correspondence with Wawi Navarroza:

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an amazing young visual artist, is the reason why I decided to feature some pages from my brief research on Filipino Phonetic-Syllabic Handwriting on this site.

For the readers to understand the significance of such exquisite handwritings, I had to unravel some stories behind this calligraphy which topic got initiated upon Wawi’s invitation to her lecture on the Mangyan tribe.

wawinavarroza wrote on Jan 18, ’06:

“Discovering this page is like unearthing some ancient forgotten relic, Glenn! Thanks so much really for sharing the information. Now that the scripts and characters are here, I can start writing secret messages and poems and posting it on public places”.

Salamat.
Wawi
glenlorn wrote on Jan 18, ’06:

“u r wlcm . . my dir frnd, ur kin ntres on dis orig pnoy rytings hs smhw stimultd me 2 re-lern dem n do frdr reserch, tnx 2. . in tym i wl b abl 2 tch u d aplctns”

you see, wawi present texting is like how the early ‘pinoys’ wrote to express themselves, that is, phonetically . . d, ba?  – – but writing again, at present, with such beautiful Pinoy icons cannot be less fulfilling but will perhaps bring back the Pinoy’s lost identity, also similar to shorthand, only I  don’t know how, do you?

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Tagalog Syllabic-Phonetic Writing

Syllabic-Phonetic Filipino Handwriting / The single outstanding object recovered during the Calatagan excavations was an earthenware vessel with Tagalog syllabic writings on the shoulder. Although it is known that at least sixteen (16) different groups were literate in syllabic form of writing at Spanish contact, (the writing is of Indic origin probably brought in to the Philippines by the Bugis, (great traders from Celebes) this is the only object from a pre-Spanish archeological site with syllabic writing.

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Lorna cuddling baby David, Grandma "Enyang", Grandpa "Asyong", Glenn

Lorna cuddling baby David, Grandma “Enyang”,       Grandpa “Asyong”, Glenn

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Unlike my father, David’s grandfather (now at the hospital in Los Angeles, CA, struggling with his life) , who writes much like the Mangyan tribe with his diagonal and straight line handwriting, David and I opted to depart from the syllabic, phonetic writings of the Tagbanua tribe admiring the seemingly romantic, soft and rounded strokes of their handwriting. David’s ability to adapt the chosen syllabic symbols to his needs and eventually to my needs too, led to a new form of syllabic / phonetic writing which at the present moment, only David and I can understand. We’ve decided to call it an international form of writing because our revision from the Tagbanua’s handwriting may be used to write any international language or local dialect provided that they make sounds.

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David's Modified Tagalog Phonetic-Syllabic Alphabet

David’s Modified Tagalog Phonetic-Syllabic Alphabet

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David’s Undecoded Alphabet

David’s reluctance to share this with others, other than his close friends, has created a new conflict between us. Time will tell whether I can share this new handwriting with others for, at the moment, I am inclined not to disappoint David. The inscriptions featured here were the first syllabic writings David attempted to share with his group. He has done many more but likes this version the most. ”I kinda like it too.” If you are interested in learning it, please write to David for I know he’s bound to change his mind.

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Grandma “Enyang”, Grandpa “Asyong”, Grandson “David” / Glenn’Studio, Imus, Cavite, Philippines

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Tagalog Phonetic Handwriting

It had been hoped to include a translation of this script in the exhibit (an excellent translation has been provided by Prof. Guillermo Tolentino); however it was thought best to withhold publication of the translation until Prof. Tolentino and others have had more opportunity to study the text at length.

The translation, according to the National Museum will be included in a special publication. The vessel on which the writing is found is of the type of the earthenware found at Calatagan which has been name KAY TOMAS PLAIN, and was found with porcelains of the 14th and 15th centuries. Thus, the object may be dated from this period.

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Southern Mindanao Abaca Weaving Art The intricate process of weaving and dyeing abaca (musa textilis) fiber for clothes is an art found among the Manobo, Bagobo, Bila’an and Tagabili - - closely related groups of Davao and Cotabato. The groups also manufacture bolos, knives, chains and pendants by native brass casting. The weaving and casting technology is shared by the southern Mindanao groups with the Indonesian people to the south, suggesting contact during pre-Spanish times.

Southern Mindanao Abaca Weaving Art
The intricate process of weaving and dyeing abaca (musa textilis) fiber for clothes is an art found among the Manobo, Bagobo, Bila’an and Tagabili – – closely related groups of Davao and Cotabato. The groups also manufacture bolos, knives, chains and pendants by native brass casting. The weaving and casting technology is shared by the southern Mindanao groups with the Indonesian people to the south, suggesting contact during pre-Spanish times.

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Bagobo Bags: The Bagobo tribe of Davao is known to pay more attention to dress than any other group in the Philippines. In lieu of pocket, the Bagobo wear beaded bags bordered with tassels and bells of native casting. Bells are also used to decorate various personal effects. Formerly beads were made of shell until sequins were made available through trade. Some bags show both shell and sequins.

Bagobo Bags:
The Bagobo tribe of Davao is known to pay more attention to dress than any other group in the Philippines. In lieu of pocket, the Bagobo wear beaded bags bordered with tassels and bells of native casting. Bells are also used to decorate various personal effects.
Formerly beads were made of shell until sequins were made available through trade. Some bags show both shell and sequins.

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(9-6-2013) I searched the internet, just now and got this: http://www.omniglot.com/writing/tagalog.htm

Some years back, I got to meet a certain Frederick who did much research on “Tagalog Syllabic-Phonetic Writing” which I documented using the Multiply.com site. Now that Multiply changed its format, all my precious documentation just disappeared. Saving all those images and texts were next to impossible.

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Barimbao (bronze gong), Saluray (stringed-bamboo), Kudyapi (violin w/ human hair), Burai-dipai (seedpods)

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Architech Edgar was coaching David about rock climbing. Same time theIdeal Filipino Communityplan was drafted by Arch. Edgar Saban – ->
http://www.glennbautista.com/journal/ifc.html
http://www.glennbautista.com/journal/ifc_ct.html

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Saluray  /  Tribal Tools / Instruments

Everyday tools or instruments, e.g.: clay, bamboo, brass, iron, etc. . used by the Filipino minority tribes have a direct influence on how these tribes develop their handwriting.

If you compare the handwritings of the Tagbanua tribe of Palawan with that of the Mangyan tribe of Oriental Mindoro, one would notice a distinct variance in the manner their syllabic symbols are written. The Tagbanua’s affinity to clay as their material for expression – – for their basic needs like food and shelter, and even for their culture, has left us considerable amount of evidence that it is primarily because of the abundance of the material they use that led them to a kind of flexible and rounded type of handwriting and a quiet type of expression in their arts and crafts, earthenwares and weaponry.

Unlike the Tagbanuas, the Mangyans lavished in the use of bamboo as a material for expression which, at present, are still manifested in their manner of voting using the bamboo. Unlike the Tagbanuas, they can only make straight and semi-circular lines using a wedge or a knife to inscribe their syllabic writing on bamboo.

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Tagbanua – hunting and ritual complex:
The woodworking art of the Tagbanuwa of Central Palawan is integrated with their religious beliefs. Hunting with blowguns and poisoned darts is accompanied with ritual carvings of animals which are exchanged with environmental spirits for the privilege of capturing their quarries. The decorated blowguns are called
“sapukan giniti’itan”.

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kudyapi

Kudyapi / Gitara – strings made of human hair –
Tribal Tools / Instruments
Everyday tools or instruments, e.g.: clay, bamboo, brass, iron, wood, hair, etc. . used by the Filipino minority tribes have a direct influence on how these tribes develop their handwriting and culture.
Sorry about the unfocused photo of this document. I didn’t have any decent camera then and this old document is already soggy, brown and brittle. Just make the best effort to maximize its usefulness

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GLENN'S OTHER BLOGS - https://glenlorndav.wordpress.com/2013/09/27/glenns-cyberartpages-1963-2013-on/

GLENN’S OTHER BLOGS 

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“from glenn to glenn”

"from glenn to glenn"

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“from glenn to glenn”

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(double click any image or underlined bold titles to view)

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Portrait photography by: Paolo Dy

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Glenn Angeles Bautista
photography / Paolo Dy

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Dear Family / Friends,

“GlennsCyberArtPages” is an online diary that will include commentaries on my past and recent artworks, activities and insights on just about anything under the sun.

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Glenn Bautista’s Early works, and 150 Recent Pastels in the USA,

includes excerpts, images and narratives from my handwritten diary, 

“From Glenn’s Childhood to David’s Childhood –1947-2013″

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“From Glenn’s Childhood to David’s Childhood -1947-2013”

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Dearest Family & Friends,
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I treasure the privilege and the blessing of my physical existence on this part of the universe called Mother Earth – to have the rare opportunity to feel, sense, touch and taste what this physical life can offer. Yet, these physical sensations are nothing to compare with the majestic splendor of what our loving Creator has prepared for us. I thank God with all my heart for the total life experiences I have been blessed with and for the assurance of an everlasting life with Christ Jesus, my Lord and Savior. I am resting on His great promise when He said, “In my Father’s house are many mansions. If it were not so, I would not have told you”. (John 14:2)
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glenn.angeles.bautista

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Lorna & Glenn's Activities in CO / December 21-31, 2010 - with Joy & Bill, Tere, Jon & Jim

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FOREWORD – by Alfredo R. Roces
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As a young art student at the College of Fine Arts, University of the Philippines, Glenn Bautista introduced himself to the Philippine art public in extravagant and flamboyant fashion with two, massive, six feet by three feet, pen-and-ink on paper works. One was a drawing of Guillermo Tolentino’s celebrated UP statue “The Oblation” meticulous and carefully crafted in perfectly even parallel lines; the other a rendering of Rizal’s 39 poems including his celebrated Last Farewell that also limned the Rizal monument through a process of light and dark ink letters. A tour de force that marks Bautista’s hyperactive approach to art to this day. Glenn Bautista’s paintings straddle the world between the spiritual and the surreal. Carefully rendered with precise craftsmanship, his paintings, nevertheless, take on the appearance of free and spontaneous undulating forms that echo the rhythms of Nature. There is something of the German Bauhaus and the baroque in his images. The son of a Methodist minister, Glenn has tapped his religious background for his own aesthetic ends. His artistic journey has taken him from the Philippines to Germany and very recently to the United States. One can only wish such a diligent artist, God’s grace.
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Alfredo R. Roces 
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Alfredo R. Roces (29 April 1923) is a painter and an essayist, a versatile artist. He won a grand prize for his painting Kundiman at the 25th AAP Annual Exhibition in 1972. He wrote many articles about art for various international magazines and daily column. He wrote and served as editor-in-chief of a ten-volume encyclopedia, Filipino Heritage. He also received four National Book Awards from the Manila Critics’ Circle (Legaspi, Ang Kiu Kok, Hidalgo, Adios Patria Adorada). He even branched out into pottery in Sydney, Australia..

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Alfredo R. Roces
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(29 April 1923)

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A representation of Glenn A. Bautista’s  Early WORKS and 150 Recent P A S T E L S   in  the  U S A includes Excerpts , Images & Links   from  Glenn’s  E-jonrnal

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Dad Glenn sharing close-up insect photos with son, David
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To my adored wife, Lorna and beloved son, David who continue to inspire me . . .
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Copyright 2011 © Glenn A. Bautista
Technical Assistance: Doris B. Rifareal
Elizabeth B. Rifareal
(Designworkers.biz)
Text Edit: Eunice B. Laureano

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danny boy



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Glenn, Lorna and Baby David / Imus, Cavite

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Glenn, Lorna and Baby David / Imus, Cavite

David, the ‘apple of our eyes’ went on to fascinate Lorna and me, even while he was yet a  toddler. He wasn’t like a baby doing ‘baby talk’. He was almost right away talking, as if he was a teenager. Most likely, he got this from his very eloquent Mama Lorna. It couldn’t be from me for I have always been shy and timid, an introvert and one who loves solitude. Also, only if you had the chance to shake hands with David, his grip was amazingly strong and hands a bit rough. Even, at this early age, David already started appreciating things from nature.

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. http://glennbautista.com/art/weatherfordpastels.html

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Butterflyscape1 ’09 
by Glenn A. Bautista

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For one, daily, he would watch a caterpillar he found that we placed inside a screened bird cage together with the ‘ficus’ food plant including the twigs and leaves that it could feed on and hang on to. I cannot forget David’s surprised big eyes opened when the caterpillar came out from the cocoon as an amazing, colorful butterfly. It was a long-tail butterfly that David found. This experience had a great influence on David’s spirituality, which later on, he began to understand better as I had explained in this video, please click on the active title:

Uncle Glenn Remembering Tatay & Nanay

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An Art Review on Glenn's Pastels by John Altomonte

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An Art Review on Glenn’s Pastels by John Altomonte

An Art Review by John Altomonte- . The more I open up to the influence of each artwork, the deeper I go within myself…that is why I call the experience ‘spiritual’. I become aware that the harmonic vibrations that these art pieces emanate can actually change how I interact with the reality of the physical world outside my body. By observing this shift in consciousness I can also begin to understand how Glenn interacts with shapes found in nature. Knowing him as a deeply spiritual man, I can assume that these works are contemplative, at the same time essentially musical and therefore hymn like in presentation as consciousness drifts in and out of the framework in measured cadences.   These are indeed, very beautifully inspiring work done by an artist who is expressing something which comes from a very special place within himself.”   . – John Altomonte / Darwin, Australia March 2011    

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. Glenn'Studio / Imus, Cavite, Philippines

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Glenn’Studio / Imus, Cavite, Philippines

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Two Letters from Glenn

. Dearest Family & Friends,

These “CyberArtPages” share with you a little bit about me, my early works and my recent soft pastels I have created while in Texas, California and Colorado since my arrival here in the United States last May 2009. It also includes links to images of people I have met and includes short narratives I have written about the places I have visited as I searched for inspiration to create my artworks. Art and life go together. They are inseparable. It is much like asking which one came first – – the chicken or the egg. As you go through this book you will really begin to understand why. ART is a vehicle in and through which we can look at things that touch our hearts and open our minds to fully comprehend what life around us is all about. The Lord’s infinite and constant goodness has inspired me to write this book, coupled with the inspiration from my adored wife Lorna and our beloved son David. Since I stepped on US soil in May 2009, Lorna and I felt so much closer to God despite our physical separation from our son David. We will always be thankful to Him for His unceasing and faithful protection, provision, guidance, wisdom and understanding of our circumstances during this time of our life. I earnestly encourage you to share this book with your family and friends. Only artwork that is devotedly created and sincerely appreciated has truly completed its full cycle. The creative expression of one’s thoughts and emotions through art brings about the sublime things of life, uplifting and inspiring us from the things that pull us down, helping us to understand the things around us, both seen and unseen, things that do matter in life that seem to escape us while we try to survive on this our planet Earth. Do not hesitate to connect with me online for any inquiries about learning more about my art or even learning how to draw or paint. I will be most happy to provide you guidance and direction.

God bless.

– glenn.angeles.bautista

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. Messages from Glenn

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Message from Glenn

 

Dearest Family & Friends, I treasure the privilege and the blessing of my physical existence on this part of the universe called Mother Earth – to have the rare opportunity to feel, sense, touch and taste what this physical life can offer. Yet, these physical sensations are nothing to compare with the majestic splendor of what our loving Creator has prepared for us. I thank God with all my heart for the total life experiences I have been blessed with and for the assurance of an everlasting life with Christ Jesus, my Lord and Savior. I am resting on His great promise when He said, “In my Father’s house are many mansions. If it were not so, I would not have told you”.

(John 14:2)

– glenn.angeles.bautista

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Glenn playing basketball at the Central UMC court

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GLENN A. BAUTISTA was born on March 20, 1947 in Orion, Bataan, a province in Central Luzon, Philippines made infamous by the 1942 Bataan Death March. Glenn is the seventh of nine children in the family, all reared in the faith tradition of the United Methodist Church. His mother Eugenia Angeles was a deaconess, and his father, the Rev. Ignacio P. Bautista, was church minister for 39 years.

. Glenn Bautista as a pupil of Santa Elementary School in Manila, standing tall at 4’3” behind a height chart.

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Glenn Bautista as
a pupil of Santa
Elementary School
in Manila, standing
tall at 4’3” behind
a height chart.

Glenn completed his education in Manila: his elementary education at the Sta. Ana Elementary School (1959); secondary education at the Union High School of Manila (1963); and college at the University of Santo Thomas (UST), the oldest existing university in Asia, and at the University of the Philippines (UP), the country’s national university and premier institution of higher learning. In 1969, he completed a certificate course in Advertising at the UP College of Fine Arts where he was a consistent university scholar. In 1971, Glenn received his Bachelor of Fine Arts degree at Brooks Institute in Santa Barbara, California, USA. He then went to Germany in 1982 to pursue further studies in lithography at the Staatliche Kunstakademie Düsseldorf. Glenn now resides in Houston, Texas, USA with his wife Lorna, a physiotherapist and food expert. Their son and only child David, drummer/percussionist of the band Southwind, is in the Philippines completing his undergraduate studies.

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1964-69 - School plate

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Glenn’s UST / UP Schoolplates

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1964-69 – Image of a school plate from Prof. Rebilion’s Technique & Reproduction class
UP College of Fine Arts, Gonzales Hall

 

brooks diploma -sml

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Photo of diploma conferred by the Brooks Institute School of Fine Art, 21 April 1972:

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Body of work

Glenn’s art has been variously described as impressionistic, surreal, or futuristic. But as much as his art defies neat categorization, the artist himself evidently eccentric, Glenn Bautista is without doubt a master of the visual arts, proof of which is his extensive body of work. He has done paintings in oil and pastel, sketches on hand-made cogon-abaca paper, watercolours, collages, airbrush murals, street rubbings, bas-reliefs, cut-outs and sculptures, lithographs using the litho-press that he himself constructed, photography and videography, digital art, and even interactive net art. Glenn also successfully completed a personal architectural project, Glenn’Studio, which not only demonstrates his versatility and multidimensionality as an artist but also erected an enduring embodiment of his views and values on art and life. Located in Imus, Cavite, Philippines, Glenn’Studio houses the artist’s 300 Personal Artwork Collection, which includes pieces dating back to 1963 as well as current works. For over four decades, Glenn has created art with hardly a pause. His oeuvre to date features the following major works and themes:

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Glenn’s Journey as an Artist

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Glenn’s art is fundamentally grounded on the principles of the Christian faith, due in great measure to his being raised in, as he would say, “my old folks’ religion”. Much of his work is permeated with religious symbolism reflective of a deep personal piety. His early paintings dwelt on commonplace objects infused with Christian symbols and images. But while he started as a painter of portraits and religious subjects in the mid-1960s, Glenn through the years has produced works that explore diverse themes, forms and media. They bear marks of his sojourns, either to remote places in the Philippines or farther westward to the US, Spain, Germany or other parts of Europe, or inward to his inner light.

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A watershed ‘event’ – the-event-1965-glenn-bautistaThe Event (tempera on board), 1965. First Prize, International Christmas Art Competition, 1964/1965 World’s Fair, New York, N.Y., U.S.A. (©WLCL – World Literacy and Christian Literature, NCC 475 Riverside Drive, New York, N.Y. 10027. Printed in the U.S.A.) The turning point in his journey as an artist came in 1964 when, at the young age of 17 and encouraged by his father, Glenn participated in the International Christmas Art Competition sponsored by the New York-based World Literacy and Christian Literature organization. Submitted artworks were to be exhibited at the 1964/1965 World’s Fair in New York. Out of 64 entries from all over the world, Glenn’s The Event was declared winner. Soon afterward he received his check for the prize money and boxes of printed Christmas cards all bearing his artwork. Glenn never looked back since then. He knew painting would be his vocation, and he pursued it with a passion and dedication characteristic only of an artist destined to be a master. The Event served as the seminal work of Glenn’s art. In his biography, art critic Alice Guillermo writes: “Although Glenn Bautista later turned to other subjects and themes, there always lingered a trace of the religious in his paintings, either visually, as a solitary Christ figure in unfamiliar landscapes, or as a mood in mystical or supernatural atmosphere.”

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Painting History

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Many of Glenn’s early artworks dealt with historical subjects, some of which developed from his school plates in UST and UP, produced between 1963 and 1965. One of them is The Complete Poems of Dr. Jose Rizal Monument (1966), a pen-and-ink drawing composed of the complete 39 poems of the Philippine national hero, Dr. Jose Rizal, and one song, “A Orillas del Pasig”, which was translated into English by Glenn’s late friend, Alfredo Veloso. Rizal Monument was on exhibit for about six years at the Jose Rizal Shrine at Fort Santiago in Manila at the behest of the former First Lady of the Philippines, Imelda Romualdez Marcos.

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Justice Jorge Bocobo Mural by Artist Glenn A. Bautista, UP College of Law, UP Diliman, QC, Philippines (on permanent display at the UP Law Center; printed as Philippine postage stamp)

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First solo exhibit

Following years of painting religious and historical subjects and a string of group exhibitions, Glenn finally had a chance to mount his first one-man show at the Ateneo Art Gallery in Quezon City, courtesy of curator Emmanuel Torres. Entitled Inscapes, the exhibition was held in August 1969 after his graduation from the UP College of Fine Arts. Dealing with commonplace subjects, Inscapes marked a new stage of development in Glenn’s art, paving the way for one of his more important works, the Inner Light Series.

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Crusade scholarship

A year later, in 1970, Glenn went to the United States as a Crusade Scholar of the United Methodist Church. There he continued his art studies at the Brooks Institute School of Fine Art in Santa Barbara, California.

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Glenn Bautista along State
Street, downtown Santa
Barbara, California, USA
(1971)

After two years of study, and upon the invitation of curator Ronald Kuchta, Glenn joined John Cushing and Stephen Samerjan for a Group Art Exhibition at the Santa Barbara Museum of Art. Their show coincided with the retrospective exhibition of Impressionist master Childe Hassam. Glenn’s works, which received critical praise, consisted of abstractions in diptychs and triptychs done with the airbrush, one of which, entitled Diptych, is now part of the museum’s art collection. His participation at the group exhibit earned him a Bachelor of Fine Arts degree (major in Painting) with honors. .

.    James Jarvaise / Glenn's Art Teacher at the Santa Barbara Art Institute  (Brooks Institute) 1970-72 / Santa Barbara, California, USA: http://www.jarvaise.com/Biography.htm Professor "James" Jarvaise was not there in our class to teach us techniques in painting, although, he suggested a few then.                But his focus was more philosophical than visual. He wanted us to go inwards in search of our inner-self, rather meditatively.            Only then, he said, could we fully express ourselves in the medium of our choice, automatically, almost like a self-emptying process that cannot easily be stopped. Truly, this happened to me for I produced enough of my Woodscape series to exhibit at the Santa Barbara Museum of Art (SMBA). At Brooks, I am grateful to my professors Ron Robertson, Joseph Young, Advisers James Knowles  and James Armstrong and the family I stayed with, the Radfords - - composed of wife and husband Marilyn-Anthony, two sons Peter and David, and daughter, Lynn. Santa Barbara is one place I will not mind settling down in to live permanently. Truly, it was a  beautiful three year stay I had in Santa Barbara. Thanks to the UMC Crusade Scholarships for making this scholarship study possible. 

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James Jarvaise / Glenn’s Art Teacher at the Santa Barbara Art Institute
(Brooks Institute) 1970-72 / Santa Barbara, California, USA: http://www.jarvaise.com/Biography.htm.
Professor “James” Jarvaise was not there in our class to teach us techniques in painting, although, he suggested a few then. But his focus was more philosophical than visual. He wanted us to go inwards in search of our inner-self, rather meditatively. Only then, he said, could we fully express ourselves in the medium of our choice, automatically, almost like a self-emptying process that cannot easily be stopped. Truly, this happened to me for I produced enough of my Woodscape series to exhibit at the Santa Barbara Museum of Art (SMBA). At Brooks, I am grateful to my professors Ron Robertson, Joseph Young, Advisers James Knowles and James Armstrong and the family I stayed with, the Radfords – – composed of wife and husband Marilyn-Anthony, two sons Peter and David, and daughter, Lynn. Santa Barbara is one place I will not mind settling down in to live permanently. Truly, it was a beautiful three year stay I had in Santa Barbara. Thanks to the UMC Crusade Scholarships for making this scholarship study possible. 
It was a well-liked piece I did so I decided to include it for the school’s annual show at the end of the year. Because of this piece, I was inspired to do a series of works related to this icon which I entitled, Woodscapes. After two years at school, I was able to join a group show of artists from Santa Barbara – – John Cushing and Stephen Samejan where our works were exhibited at the Santa Barbara Museum of Art (SBMA). Then Art Curator, RONALD KUCHTA, made this significant group exhibition of three young artists from Santa Barbara, possible. This group exhibition coincided with the Impressionist Master Childe Hassam’s Retrospective show at the Santa Barbara Art Museum (SBMA). None of this would have been possible without the United Methodist Church Crusade Scholarship program.

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 “Laskey Mural”

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Laskey Portrait Mural Unveiling 72 b

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Subsequently, he held shows in New York at the Philippine Consulate and at Scarritt College in Nashville, Tennessee. In Nashville, he was commissioned to do the “Laskey Mural” in honor of Scaritt College founder, Virginia Davis Laskey. The Crusade Scholarship of the United Methodist Church in New York also commissioned him to do a mural entitled America.

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“Abstractions” (1970)

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Glenn held shows in Manila upon his return in 1971. His exhibit at Rustan’s Galerie Bleue, whose guest of honor was former First Lady Imelda Romualdez Marcos, featured “Abstractions” (1970), a wall-size painting executed with the airbrush.

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Glenn A. Bautista / Recipient of the Thirteen Artists Award

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In 1974, Glenn was one of the recipients of the Thirteen Artists Award, a triennial recognition given to emerging artists by the Cultural Center of the Philippines (CCP)
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His 1975 show at the Lor Calma Gallery in Makati marked the beginning of his Inner Light Series, which consisted of 40 artworks in oil, each on a square format of 50.8 cm x 50.8 cm canvas. The Inner Light Series, an extension of his first show dealing with commonplace subjects, explored images of wood, tree trunks, and tree rings. Included in the series was one big piece entitled Woodscape which won the Critics’ Choice, an annual selection sponsored by the Ma-Yi Gallery under Susan Calo-Medina.

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“In Search of the Divine” ( 1976)

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In search - litho - homecoming

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In 1976, he exhibited yet another series entitled, In Search of the Divine at the Sining Kamalig. The presentation was highlighted by a night of music with the Madrigal Singers and poetry readings by Virgie Moreno, Larry Francia, Bobby Cuenca, Betsy Romualdez and Henry Francia.

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Mastering Lithography

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Mastering Lithography
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From 1980 to 1985, Glenn lived in Düsseldorf, Germany where he studied lithography under Professor Rolf Sackenheim at the Staatliche Kunstakademie Düsseldorf, the Arts Academy of the city of Düsseldorf. Under the able tutelage of a Polish teacher, Maria Buras, Glenn mastered the lithographic process of printmaking. Kunstakademie also accorded Glenn the rare opportunity to spend time with and learn from the distinguished and influential, yet controversial, German artist Joseph Beuys.
While in Germany, Glenn also produced other works outside the walls of the arts academy. The Philippine Consulate in Düsseldorf, through Honorary Consul Karl Heinz Stockheim, commissioned him to do a mural entitled Pilipinas. He also became a guest artist of Galerie Art204 in Rethelstrasse, Düsseldorf where his series entitled Cut-Outs in Paper & Wood, produced in 1985, is on permanent display. Part of the gallery’s permanent collection features works by the masters Feininger, Ernst, Chagall, Dali, Miro and Beuys.
Alice G. Guillermo, The Uncommon Art of Glenn Bautista (Quezon City: E. L. Salas, 1997) ISBN 9719179503, p20

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Glenn’s art in the eyes of…

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In the eyes of 1

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Carlos P. RomuloWORLD STATESMAN AND AUTHOR “… I looked admiringly at your 41 paintings one by one, and I can see how, while you do not wholly dispense with the object, you reconstitute it in accordance with a rhythm that you yourself determine and not derived from the object. In your aesthetic you do not concern yourself with creating fully realized forms for the sake of either ontological significance or realistic modeling; instead you successfully created structures composed of smaller elements, the planes, which in their juxtaposition, superimposition, or mingling produce a complex and pervasive rhythm which could not but win my admiration. … I believe you are destined to be one of our greatest in painting.” – March 22, 1971

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Alice G. GuillermoART CRITIC “Total and spontaneous creativity is the principle that moves Glenn Bautista, wide-ranging artist who resist tested formulas and whose prodigious work in diverse media, two-and-three-dimensional, builds a universe of striking, haunting images that continually tease and challenge the mind. If landscapes, his paintings do not have the placidity and finality of familiar land-and-sky vistas but have the uncommon quality of concealing and revealing at the same time. If abstracts, his work, never facile, poses riddles and enigmas that resist categorical answers. If three-dimensional works, they defy conventional expectations in order to extend the meaning and experience of sculpture. …In time, it became clear that the art of Glenn Bautista is not one for the academically conservative and tradition-bound. Rather, it extends an invitation to the adventurous, being avant-garde in a quite inconspicuous way.” – 1997

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Richard AmesSANTA BARBARA NEWS PRESS (CALIFORNIA, USA) “Most of Glenn’s images seem to take place in a gigantic basement, a science-fiction subterranean world where lumber and metal pipes glow with a pulsating inner light. Here are remnants of today’s world seen with surreal imagination. It is pretty, pink, yellow, red and green pastel-colored vision of glowing growing crystals. Faucets, gigantic pencils, wood, cement blocks, metals and rocks are transformed into phantasies of purity, clarity and wonder.” – March 26, 1972

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In the eyes of 2

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glenncaricature

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by Danny Aguila,
CARICATURIST-CARTOONIST

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Paul B. ZafarallaART CRITIC “Originality is fast becoming synonymous with the name of Glenn A. Glenn. The first time he gained public notice, it was with his large murals about history at the University of the Philippines…. Since his graduation, he has been continually treating the art public with highly provocative artworks—aesthetically and intellectually—making it known to all that the human mind, particularly his, is capable of infinite creativity, even to the point of rendering art theories inutile. And gifted as he is with a deft hand, he has established an identity all his own, making himself as one of the few significant artists of the decade.” – December 26, 1976

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Justin “Tiny” NuydaARTIST-FRIEND “Difficult to understand and impossible to contain, the rapture, anguish and character genius of Glenn Bautista flow from oil painting, pastel and pencil drawing, photography, architectural design, lithography and to theoretical experimentations. He purposely leaves much to the imagination, which often enters the domain of mental bewilderment. His evocation of this very special terrain is so strong that art critics unanimously say Glenn Bautista is always eccentric.” – 1997

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In the eyes of 3

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Internationally distinguished statesman Carlos P. Romulo, then the Philippines’ foreign affairs secretary, wrote to Glenn Bautista on 22 March 1971 following his one-man exhibition, “Glenn’s Works in Transparencies”, at the Savoy-Hyatt Hotel in Manila, which the Secretary ribbon-cut. He mailed the letter to the University of the Philippines College of Fine Arts where Glenn completed a course in advertising. Alice G. Guillermo, The Uncommon Art of Glenn Bautista (Quezon City: E. L. Salas, 1997) ISBN 9719179503, p6,10

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Awards and recognition:

  • 1965-67 – University Scholar, Arts and Sciences, University of the Philippines
  • 1965-67 – Art Scholar, Children’s Museum and Library Inc., University of the Philippines
  • 1965-67 – College Scholar, College of Fine Arts, University of the Philippines
  • 1970-72 – Scholar, Honors, Brooks Institute of Fine Arts, Santa Barbara, California, Crusade Scholarships of the United Methodist Church, New York, U.S.A.
  • 1964 December – First Prize, “The Event” (tempera), International Christmas Art Competition, New York City, sponsored by the World Literacy and Christian Literature, 475 Riverside Drive, New York, NY, U.S.A.
  • 1967 October – Honorable Mention, “Chinese Garden” (oil), National Student’s Art Competition, sponsored by the Shell Company of the Philippines
  • 1967 December – First Prize, “The U.P. Entrance” (oil), First U.P. On-the-Spot Painting Contest, U.P. President’s Committee on Culture
  • 1968 March – Third Prize, “Main Building” (oil), 357th Anniversary Foundation Day On-the-spot Painting Contest, University of Santo Tomas
  • 1968 October – First Prize, “Fort Santiago” (oil), sponsored by the Shell Company of the Philippines, National Student’s Art Competition
  • 1968 December – Second Prize, “Arts and Sciences Building” (oil), Second U.P. On-the-Spot Painting Contest, sponsored by the President’s Committee on Culture
  • 1969 March – First Prize, “Aguinaldo Portrait Mural” (oil), 11’ft x 17’ft, sponsored by the Aguinaldo Centennial Commission
  • 1972 May – Award of Merit, “My First Week at Brooks”, Student’s Art Competition, Brooks Institute of Fine Arts, Santa Barbara, California, U.S.A.
  • 1982-1985 – Guest Student, Lithography, under Professors Rolf Sackenheim and Maria Buras, Kunstakademie, Düsseldorf, Northrein Wesphalia, Germany
  • 2005 March – Nominee, National Artist of the Philippines, National Council of the Arts, Cultural Center of the Philippines
  • 2007-2008 – President Nominee, Chairman-International Service Group / Rotary Club of Parañaque Sucat (RCPS) District 3830
  • 2009 September – Weatherford Art Association, Member
  • 1964 – “Imelda Portrait”, sponsored by the Childrens’ Museum & Library, Inc., Malacanang Palace, Philippines/
  • 1966 – “Rizal & Oblation”, (pen & ink), Gonzales Hall, Diliman, Quezon City, Philippines

Exhibitions:

  • 1967 – “Glenn’s Early Religious Works”, Abelardo Hall, University of the Philippines, Diliman, Quezon City, Philippines
  • 1967 – “My Yoke is Easy”, Dasmariñas, Cavite, Philippines
  • 1967 – “ Christian Art”, Saint Andrew’s Seminary, Manila, Philippines
  • 1968 – “Come All Ye”, Union Church of Manila, Makati, Philippines
  • 1968 March – “CMLI Art Scholars Art Exhibition”, Philamlife Building, United Nations Ave., Manila, Philippines
  • 1969 August – “Inscapes”, Ateneo Art Gallery, Quezon City, Philippines
  • 1971 March – “Glenn’s Works in Transparencies” (ribbon-cut by Carlos P. Romulo), Arts & Ends Gallery, Savoy-Hyatt Hotel, Manila, Philippines
  • 1971 – “On My Way to School”, Brooks Institute of Fine Arts Gallery, Santa Barbara, California, U.S.A.
  • 1972 March – “Three-Man Show”, with Artists John Cushing & Stephen Samerjan / Santa Barbara Museum of Art, California, U.S.A.,
  • 1972 June – “America”, Inter-Church Center, Riverside Drive, New York, N.Y., U.S.A.
  • 1972 July – “Pilipinas”, “Glenn’s Solo Art Exhibition”, Philippine Consulate, NY, USA
  • 1972 June – “Two-Man Show” with Danny Aguila, Scarrit College, Laskey Gallery, Nashville, Tennessee, U.S.A. 1973 March – “Filipino Artists’“ Group Show, Sining Kamalig, Manila, Philippines
  • 1973 December – “Zen Series”, Galerie Bleue, Makati, Philippines
  • 1974 -“Thirteen Artists ‘74”  – “Thirteen Artists“, Cultural Center of the Philippines, Manila, Philippines
  • 1975 August – “Inner-Light Series”, Metro Gallery, Lor Calma Building, Makati, Philippines
  • 1976 December – “In Search of the Divine”, Sining Kamalig, Manila, Philippines
  • 1976 – “U.P. Artists’ Group Show”, University of the Philippines, Manila, Philippines
  • 1977 – “Rizal”, (pen & ink) Fort Santiago, Philippines/
  • 1977 October – “Branches”, Art Associates Gallery, Makati, Philippines
  • 1977 – “Seasons & Generations”, Group Show, Cultural Center of the Philippines
  • 1978 March – “Balik-Gallery”, Art Associates Gallery, Makati, Philippines
  • 1978 August – “Sambahan”, Photography Group Show, Sining Kamalig, Manila, Philippines
  • 1978 December – “Religious Paintings”, Residence of the U.S. Ambassador to the Philippines
  • 1978 December – “Christmas Group Show”, Luz Gallery, Makati, Philippines
  • 1978 March – “Nudescapes”, Ma-yi Associates, Makati, Philippines
  • 1978 October – “Paintings & Sketches”, Sining Kamalig, Regent of Manila1979 November – Critics’ Choice – “Woodscape”, Manila Mandarin Hotel, jointly sponsored by the
  • Philippine Commercial & Industrial Bank and Ma-yi Associates 1980 October – “Philippine
  • Paintings” – Old & New, Madurodam Complex, Hague, under the auspices of the Philippine Embassy and Philippine Airlines
  • 1981 November – “Group Show”, Dr. Fores Residence, New Manila, Quezon City
  • 1982 March – “Abstractions”, ABC Galleries, Manila, Philippines
  • 1983 August – “Tribute to Drawings” (Group Show), Gallery Genesis, Metro Manila, Philippines
  • 1984 October – “First Group Show”, Parañaque, Las Piñas Art Exhibition, Tropical Palace, Metro-Manila, Philippines
  • 1985 February – “1985 ASEAN Show”, National Museum of Singapore
  • 1985 – “Preview of Munich Show”, sponsored by the Museum of Philippine Art
  • 1985 –”International Artists, Art Exhibition”, Sharjah Museum of Art, Sharjah
  • 1985 March – “Cut-Outs in Paper & Wood” (permanent exhibit as guest artist- , c/o Brigitte & Manfred Schmidt/), Galerie Art 204, Rethelstrasse, Düsseldorf, Germany Parker Williams Art Talk/Exhibit
  • 1985 September – “Nature & Technology”, Gallery Genesis, Mandaluyong, Metro Manila
  • 1987 – “Halo-Halo”, Little Gallery, CCP, Manila
  • 1988 – Fifth “Kulay sa Tubig” Competition/Exhibition, Gallery Genesis, Mandaluyong, Metro Manila
  • 1990 – Seventh “Kulay sa Tubig” Competition/Exhibition, Gallery Genesis, Mandaluyong, Metro Manila
  • 1990 – “Golfscape Series”,  SouthWoods Golf & Country Club/
  • 1994 – “Landscapes & Abstractions”, Capitol Bank, Philippines/2009 October to
  • 2010 March – Participated in Group Art Exhibits / Member, The Weatherford Art Association, Firehouse Gallery & Art Center, 119 West Palo Pinto St., Weatherford, Texas 76086, (817) 599-3278, Email: weatherfordart@yahoo.com
  • 2010 March 27 – Parker Williams Art Talk/Exhibit, Parker Williams Library, 10851 Scarsdale Boulevard, Suite #510. Houston, TX
  • 2010 April 2 –Southpoint Art Talk/Exhibit, 12801 Roydon Dr., Houston, TX 77034 USA
  • 2010 April 3 – Houston Trinity UMC Art Talk/Exhibit, Houston, TX Speaker, Easter Sunrise Service, South Barker Cypress Rd., Katy, Texas 77450

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Coralscape - final-sml

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“Coralscape ’84” a pastel drawing by Glenn A. Bautista

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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. [Sketches] 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. [Christian Art] 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 cine-clubs, 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. – The Uncommon Art of Glenn Bautista by Alice Guerrero Guillermo Excerpts: “Total and spontaneous creativity is the principle that moves Glenn Bautista, wide-ranging artist who resist tested formulas and whose prodigious work in diverse media, two-and-three-dimensional, builds a universe of striking, haunting images that continually tease and challenge the mind. If landscapes, his paintings do not have the placidity and finality of familiar land-and-sky vistas but have the uncommon quality of concealing and revealing at the same time. If abstracts, his work, never facile, pose riddles and enigmas that resist categorical answers. If three-dimensional works, they defy conventional expectations in order to extend the meaning and experience of sculpture.” “In time, it became clear that the “Uncommon Art of Glenn Bautista” is not one for the academically conservative and tradition-bound, rather it extends an invitation to the adventurous, being avant-garde in a quite unobtrusive way. Even more, it has made a lasting mark on figurative art in the country today as it has opened numerous options, at the same time that it has engaged in the lively, exciting and highly original synthesis. Bautista, at present, devotes much of his time giving free art lessons to children and adults in Parañaque City. Glenn was a nominee for the prestigious 2005 National Artist Award of the Philippines in the field of Visual Arts as a result of recommendations received from some civic and religious organizations where he has been involved with who are appreciative of his works and efforts.” 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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https://glenlorndav.wordpress.com/2013/09/27/glenns-cyberartpages-1963-2013-on/

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GLENN’S OTHER BLOGS

: https://glenlorndav.wordpress.com/2013/09/27/glenns-cyberartpages-1963-2013-on/

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Ma’s Concern, CAFAsingers & Gentle Rain (ALM-BLM) / ’63-’69

. Ma’s Concern: Pohl Soller - †, Ben Navea - †, Hector Lopez, Bim Bacaltos, Willie Nepumuceno and Sammy Santamaria, Glenn - (not in photo) CAFAsingers: Nonong Pedero, Tong Salgado, Ely Tuason, Sammy Santamaria, Dinky Einsidel, Bess & Bell, Rody Picar Gentle Rain: Nonong Pedero, Rody Picar, Noel Plana, Adi Baens Santos, Glenn Bautista

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Ma’s Concern: Pohl Soller – †, Ben Navea – †, Hector Lopez, Bim Bacaltos, Willie Nepumuceno and Sammy Santamaria, Glenn – (not in photo)
CAFAsingers: Nonong Pedero, Tong Salgado, Ely Tuason, Sammy Santamaria, Dinky Einsidel, Bess & Bell, Rody Picar
Gentle Rain: Nonong Pedero, Rody Picar, Noel Plana, Adi Baens Santos, Glenn Bautista

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CAFAsingers  -from ElyT

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An Evening with Pilita – Channel 2, ’67 — with Dinky (Nathaniel Einsiedel), Neslon Rivera, Nonong (Dero Pedero), Alex Villaflor, Tong ( Arturo Salgado ), Rudy ( Rodrigo Rivera ), Ely ( Felix Tuason Jr.), Alice (Alice Bell-Rancap Bell), Tito Valbuena, Pilita Corales, Bess ( Beryl Silva), Onie ( Leon Mayo ), Sarah ( sarah Dubben-Calley), Meo (Romeo Bellesteros), Rody Picar, George Yutuc and Sammy ( Samuel Santamaria).

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Ma's Concern . UPCFA singing group / 1963-69

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Ma’s Concern. UPCFA singing group /1963-69:
Hector Lopez, Pohl Soller-†, Sammy Santamaria, Bim Bacaltos, Glenn Bautista, Ben Navea-† / UP Theater, Diliman, QC

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mas concern w glenn

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Ma’s Concern – UPCFA singing group / 1963-69 /
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Glenn’s baby pic added – (lifted from FB commentary box): January 24 – February 6, 2011 – –
Armand Bacaltos: Bakit kaya wala si Willie?
Armand Bacaltos: ….at si Bon?
Glenn A. Bautista: Saan ito Bim? UP theater? Alala ko tuloy noong hiniram ni Ben Navea yung bago kong gitara. Pag balik sa akin maraming kotong dahil sa pagkatok sa “Richard Cory”- – tug tug tug, but i, i was in his factory, and i cursed d lyf i’m livin’ & i cursed my poverty, and i wished that i could be, Richard Cory . .haha . . .
Armand Bacaltos: D ko sigurado pero posible sa DZUP sa taas ng AS.
Glenn A. Bautista: naalala ko tuloy, d ba kumanta rin tayo sa isa pang radio station sa bandang Taft, Malate na malapit sa Phil. Christian College (PCU) @ PWU? Tawag ata sa atin ay d “Painters” o pa pa pa (standing still) . . haha.
Samuel Santamaria: nagconcert din tayo sa National Press Club. may pigsa pa si Willie sa labi kaya hindi masyado naka sound effects dahil maga
Glenn A. Bautista: Pwede pa kayang kumanta pag nagkitakits? Kompleto pa tayo sa gamit, nasa BF na lahat.
Malou Zarate-Bernardo: Bim, Nasaan na si Ben Navea?
Armand Bacaltos: @Malou: Sorry, hindi mo pala nababalitaan na pumanaw na si Ben…’08 pa.

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. Oil Portrait by Armand "Bim" Bacaltos / Noli Garalde, Glenn Bautista, Sammy Santamaria

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Oil Portrait by Armand “Bim” Bacaltos
Noli Garalde, Glenn Bautista, Sammy Santamaria

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Image3

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@ Glenn’Studio, Imus, Cavite / front: Willie, Emily, Hector, middle: Bon, Bim, Tina, back: Lorna, Annie, Peggy

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Image4

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@ Glenn’Studio, Imus, Cavite / Tina, Ody,
Noelle Garalde, Beth, Beybs, Glenn Bim, Noli

First click on this link, then scroll > or < to view all images:

Ma’s Concern  

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gb n office-sml

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1. Glenn seated in front of UPCFA office, 2. 2nd prize, UP On the Spot Painting Contest, Baguio City, 3. 1967 December – First Prize, “The U.P. Entrance” (oil), First U.P. On-the-Spot
Painting Contest, U.P. President’s
Committee on Culture, 4. Glenn’s first copied oil painting

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by Glenn A. Bautista

What I am attempting to write now is not easy. Not easy primarily because I am now 66 years old. Not only that, I was born in 1947 in Orion, Bataan, Philippines a “meningitis baby”, was cuddled by my father in his loving arms without bringing me down for three days.

. San Jacinto Methodist Hospital,              Baytown, Texas 77521

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San Jacinto Methodist Hospital
Baytown, Texas 77521

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429611_10151392732207732_1607681115_n Glenn A. Bautista / November / 2012 – My Surgeon’s sketch handed to my wife, Lorna, after my surgery – – indicating 2 parts of my left and right intestines removed that resulted in an ostomy, which I thoroughly enjoy. By now, I have become an expert in managing an ostomy. I didn’t know God’s design can be improved! . . . the best surgeon I’ve ever met! Today, I read about a case whose path I seem to be following. Same stage 3-4 cancer, same chemo meds but whose cancer cells have spread to her liver, kidneys, etc. She is still alive and, by now, is on Stivarga, which seem to be a better cure for cancer, but with scary side effects too. This is the reason why in, advance, I am taking care of my liver, and later on, my other organs without hearing from my oncologists. This is my 2nd day w/o chemo pills and I am glad I paused. I am in the process of strengthening my immune system, taking IP-6, DMG, Resveratrol, Dim-Plus, etc. I have been taking Xango too which is an all-cure drink which proves to be very helpful in soreness, bruises, itchiness, and overall health. My elder brother supplies me with Xango. If you gargle xango, you’ll never have soreness in your mouth. It can even heal injuries from having taken in fish bones. It hastened the healing of my surgery, both in and out.

  • Ruby Lopez Refuerzo: Have you tried the fresh guayabano ? Look for it in the internet.
  • Fatima Crochet: Glenn, I looked up Xango and it seems that the active ingredient there is Xanthone which comes from the rind of mangosteen! And it’s the part we throw away when we eat mangosteen! Ay sus!
  • Maria Antonieta Vasquez Salazar: Im scared of being opened up and all but I faithfully follow you up Glenn to add my spiritual and psychic forces to the prayerful appeals of all your friends and loved ones to heaven. Keep on rollin’ and God bless us all who pray with you for a miraculous recovery. Faith binds us all! Fatima Crochet: I also looked up ostomy, ehehehe , dami ko natututunan sa yo Glenn …
  • Glenn A. Bautista: Thanks, Fats . . the feeling is mutual, ika nga.
  • Mila Yulo Cabunag: Glenn, xango is good and so is guyabano tea. heres to a better life n praise God for the chance to live again!

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A portion of Glenn’s most recent CT scan / Smith Clinic, Holly Hall Blvd, Houston, TX

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. Click on the link, not the images, to view my PET Scan video.

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. Glenn Bautista’s Monday, March 04, 2013, 1:00 PM Appointment with Smith Clinic PET/CT
(Click on the link, or active title, not the images, to view my
PET Scan video): PET Scan Video link: https://www.facebook.com/photo.php?v=10151413403997732&set=vb.728647731&type=2&theater
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Glenn’s PET Scan
– 2/ 4/ 2013 – an excerpt : This is what the PET scan reveals, even after the mother active tumor (cancer) the size a bit smaller than a golf ball was removed – by resection of the entire sigmoid colon (Nov 23, 2013) CT/CAT scan’s results had not been discussed yet.
10:04 pm friday
Glenn: I wl try to upload now my PET scan video where the doctor explains . . .
David: Oo Dad……. Is it bad? In your opinion?
Glenn: hindi naman, but it tells me visually about what may be invading me, although not sure what they really are . . inflammation, cancer cells, etc . . so to be sure I will hv more aggressive treatment like the IV chemo every three weeks aside from my chemo pills . .
10:17pm
David: Ok Dad, ok naman ang pag receive mo ng katawan mo sa chemo? (How did your body take the chemo treatment/)
Glenn: kaya naman (I can hack it), losing weight, darkening of both feet (spots) and a little on my hands, cracking (peeled off already) of d lower lip . . all wl go back to normal when finished w/ chemo . .
David Bautista: Dad, you won’t let the doctor finish his sentences. Are you sure you heard what he had to say before you interrupted him 2 times? Did you talk more after the video?
6:33am – Glenn A. Bautista: Yup, I noticed that . . yes he mentioned further about where the yellow blinks were, but that would also be addressed by the IV chemo . . . also, because of my interruptions (informing him of my past CT/CAT scan results, he showed me more infos about my other organs that may be under attack . . . I wl upload the video later . . luv u – – ps: Related reading -(anybody who can interpret this better than I can, in relation to my CT & PET scan results, can write a comment, and will greatly be appreciated)
Boy Leonardo, Rafael Villamil, Annie Mateo and 12 others like this.
Maria Antonieta Vasquez Salazar: More blessings as you go through the days!
March 30 at 3:25am via mobile
Felix Gonzales: The PET Scan is a lot more advance these days than the days when my Tatay had cancer (1980-1996). Now the doctor can playback everything to see every section in a person’s body. We are always praying for your healing.
March 30 at 7:19am
Mel Vera Cruz: take care glenn.
March 30 at 8:24am
Glenn A. Bautista: Thank you Tonnette, Felix and Mel and those who ‘liked’. The red to yellow scale merely indicates how metabolically active the affected/invaded areas are. The yellow ‘blinks’ like UFO’s, specifically indicate the most affected areas – higher amount of …See More
March 30 at 10:23am
Felix Gonzales: Thank you for the info and update. We continue to pray for you. Happy Easter !!!
March 30 at 5:32pm
Annie Mateo: thanks too for the info Glenn.
March 31 at 2:44am
Geoffrey Bernard William Little: Glen, my best wishes to you and can only trust things will improve for you.
– May 2 at 5:38am

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gb blood tests

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pillboxes-sml

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Glenn’s Dietary Supplements – I used to take a lot of these dietary supplements, but recently, I have been taking less but instead get most of the nutrients I need from fruits, vegetables, some meat and vegetable powder supplement (Green Vibrance)

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meds.

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. Jesse and Wanda, two of my first visitors from Houston, TX. I was confined in SJ Methodist hospital in Baytown, TX - which means that they drove at least 45 minutes to pay me a visit. Thanks Jesse and Wanda. Jesse is the brother of Allen's wife, Joy - Lorna's older brother, a medical doctor in the Philippines.

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Jesse and Wanda, two of my first visitors from Houston, TX. I was confined in SJ Methodist hospital in Baytown, TX – which means that they drove at least 45 minutes to pay me a visit. Thanks Jesse and Wanda. Jesse is the brother of Allen’s wife, Joy – Lorna’s older brother, a medical doctor in the Philippines.

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. Among many others, Phuong Dao visits Glenn at San Jacinto Methodist Hospital, 4401 Garth Rd Baytown, TX 77521. (will add more photos of visitors, later)

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Among many others, Phuong Dao visits Glenn at San Jacinto Methodist Hospital,
4401 Garth Rd Baytown, TX 77521. (will add more photos of visitors, later)

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. Wesley Fellowship / David over Tango Video chat / San Jacinto Methodist Hospital / Baytown, TX

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Wesley Fellowship / San Jacinto Methodist Hospital
Garth Rd., Baytown, Texas

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. Pastor Butch "Badong" Ramirez & wife, Leree / San Jacinto Methodist Hospital, Baytown, TX

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Pastor Butch “Badong” Ramirez & wife, Leree / San Jacinto Methodist Hospital, Baytown, TX

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prog-uhs-mila

. Sharing with my UHS mates my recent experience regarding my health.

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Sharing with my UHS mates (on two occasions –
Long Beach (Mila & Clyde Emerson’s place) & a restaurant
in downtown, Los Angeles) my recent experience regarding my miraculous healing.

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945514_10151502435542732_717755244_n

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Special Music & Testimony by Glenn
Covina Methodist Church, Covina, CA

CovinaPoster-theresaServin

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. One of my memorable experiences during my visit with my UHS mates, family and friends in California (May-June 2013) was a visit from a long-time friend, Noel Plana. I call him "Boy" as most of our common friends call him. Ever as busy, he drove in from San Francisco to Los Angeles just to see me and play golf with my brother Edwin and a two other friends, Dr. Ed Lim and his brother, Manny. He stayed with us at my brother's place in La Puente, CA. Thank you so much, Noel bro. Take care, God bless.

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One of my memorable experiences during my visit with my UHS mates, family and friends in California (May-June 2013) was a visit from a long-time friend, Noel Plana. I call him “Boy” as most of our common friends call him. Ever as busy, he drove in from San Francisco to Los Angeles just to see me and play golf with my brother Edwin and a two other friends, Dr. Ed Lim and his brother, Manny. He stayed with us at my brother’s place in La Puente, CA. Thank you so much, Noel bro. Take care, God bless.

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 Ma’s Concern, CAFAsingers & Gentle Rain

. Ma’s Concern: Pohl Soller - †, Ben Navea - †, Hector Lopez, Bim Bacaltos, Willie Nepumuceno and Sammy Santamaria, Glenn - (not in photo)

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Ma’s Concern: Pohl Soller – †, Ben Navea – †, Hector Lopez, Bim Bacaltos, Willie Nepumuceno and Sammy Santamaria, Glenn – (not in photo)

Glenn seated below his locker / UPCFA, Diliman, QC

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Glenn – seated below his locker / UPCFA, Diliman, QC

Well, as a freshman, I started to meet with my classmates and schoolmates at the locker room. This means that I had the opportunity to meet with both the Fine Art students, as well as the Architecture students using the same fourth floor of Gonzales Hall, also known as the UP Main Library. The locker room was a common space for all fine art students where we eventually formed a singing group called, “Ma’s Concern“, meaning, mothers’ concern. There we shared creative expressions using photography, graffiti poems and visual artworks on locker doors- – both outside and inside our lockers. After classes, we spent some amount of time to crack jokes, unwind by singing while I played the guitar, recite poems and just do anything to shake off the rigid and demanding art lessons and requirements for the day. On the right wing of the fourth floor were Architecture students we had come to know and become friends with. Because of this, some members from Fine Arts and Architecture formed another singing group called, “CAFAsingers” and “Gentle Rain” initiated by Nonong Pedero. He is more known now as “Dero”. Interactions between male and female art students also led to forming photography groups called, ALM and BLM.  ALM stands for “available light movement” and BLM, I have forgotten. Help! This is all for now, and since I will be including this narrative in my blogs which I recently resumed, I will continue, now and then to add more related images and stories.

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. Glenn w/ UPCFA mates / Available Light Movement 1971 UP CAFA locker room - at UP College of Fine Arts and Architecture

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Glenn w/ UPCFA mates / Available Light Movement 1971
UP CAFA locker room – at UP College of Fine Arts and Architecture

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Tiks etc . .

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U P C A F A  – C A F A s i n g e r s  /  H a y r i d e

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. . Original CAFAsingers singing, perhaps, "Man from Egypt" . Glenn A. Bautista: Sorry, I forgot to include Onie, hehe . . tatlo pala! and where was Sammy? Dinky von Einsiedel: Is that Sammy between me and Ely? This is a nice remembrance of times past, Glenn. How can I enlarge it? Thanks for sharing! Glenn A. Bautista: Yes, Dinky, that's Sammy . . it was really small and unrecognizable. Note the dark areas behind our heads indicating a strong flash was used. There was no demarcation at all, I tried separating the head from the shadow. Try this one I just made a bit bigger. It was only 28kb! Glenn A. Bautista: RomyB hardly changed . . . Eduard Percival Labadia: Hi, Glenn Bro, musta na? bakit ang liit namang file yan... kanino nagmula ba yan? Si Romy na pala yan? Makikilala ko pa rin siya anytime na magkakabanggan kami... hahaha, bass ang boses nyan, di ba? Glenn A. Bautista: Hi Eduard, happy to hear from you, CFA & Banggaan bro. Oo nga, but I don't know where my son, David got this photo. David likes looking into family pictures and history. I am fortunate to have such a son like him. Are you back in Pinas, and for good? Weather in NJ has not been that good the past months. - EdLab pala, do you have any photo of you and Ping with the guitar singing at the UPCFA amphitheater, or any related photo? I'd like to include this in my CAFA blog if you have any: https://glenlorndav.wordpress.com/.../ Eduard Percival Labadia: Glenn'bro, andito ako ngayon sa NJ since Aug. 22nd visiting our daugh here in Jersey City. I touched base with Dinky since yesterday.. I got just one picture with Ping, the late Vads Revadillo and the rest of the Extremes.. anduon din yata si Adi Baenz-Santos.. hahalungkatin ko pa... okay lang weather dito sa NJ ngayon... actually I've just started taking off shadows on the wall in this CAFA pix you sent Dinky, before the end of the day, tapos yan... sofasogo with the two guys at extreme left Glenn A. Bautista: hehe, d ka rin nakatiis, kamukha kasi lahat ni "Prince o Frankenstein" pag may shadow sa ulo, binawasan ko na yan, dati black lahat yan at beyond recognition ang boong pic . . Eduard Percival Labadia: they should come out decent enough for positive recognition after my "lay hand" rituals, hahaha... I'll try to beat a CCTV blurry imaging should try figuring out how to make Romy's patented crew-cut distinct and on the groove with the time. Eduard Percival Labadia: Teka, teka, I believe I might have confused Adi's crew cut with Romy's equally straight hair but with Pol Salcedo's greased lighting with "hati" sa kaliwa, right?

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Original CAFAsingers singing, perhaps, “Man from Egypt
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Glenn A. Bautista: Sorry, I forgot to include Onie, hehe . . tatlo pala! and where was Sammy?
Dinky von Einsiedel: Is that Sammy between me and Ely? This is a nice remembrance of times past, Glenn. How can I enlarge it? Thanks for sharing!
Glenn A. Bautista: Yes, Dinky, that’s Sammy . . it was really small and unrecognizable. Note the dark areas behind our heads indicating a strong flash was used. There was no demarcation at all, I tried separating the head from the shadow. Try this one I just made a bit bigger. It was only 28kb!
Glenn A. Bautista: RomyB hardly changed . . .
Eduard Percival Labadia: Hi, Glenn Bro, musta na? bakit ang liit namang file yan… kanino nagmula ba yan? Si Romy na pala yan? Makikilala ko pa rin siya anytime na magkakabanggan kami… hahaha, bass ang boses nyan, di ba?
Glenn A. Bautista: Hi Eduard, happy to hear from you, CFA & Banggaan bro. Oo nga, but I don’t know where my son, David got this photo. David likes looking into family pictures and history. I am fortunate to have such a son like him. Are you back in Pinas, and for good? Weather in NJ has not been that good the past months. – EdLab pala, do you have any photo of you and Ping with the guitar singing at the UPCFA amphitheater, or any related photo? I’d like to include this in my CAFA blog if you have any: https://glenlorndav.wordpress.com/…/
Eduard Percival Labadia: Glenn’bro, andito ako ngayon sa NJ since Aug. 22nd visiting our daugh here in Jersey City. I touched base with Dinky since yesterday.. I got just one picture with Ping, the late Vads Revadillo and the rest of the Extremes.. anduon din yata si Adi Baenz-Santos.. hahalungkatin ko pa… okay lang weather dito sa NJ ngayon… actually I’ve just started taking off shadows on the wall in this CAFA pix you sent Dinky, before the end of the day, tapos yan… sofasogo with the two guys at extreme left
Glenn A. Bautista: hehe, d ka rin nakatiis, kamukha kasi lahat ni “Prince o Frankenstein” pag may shadow sa ulo, binawasan ko na yan, dati black lahat yan at beyond recognition ang boong pic . .
Eduard Percival Labadia: they should come out decent enough for positive recognition after my “lay hand” rituals, hahaha… I’ll try to beat a CCTV blurry imaging should try figuring out how to make Romy’s patented crew-cut distinct and on the groove with the time.
Eduard Percival Labadia: Teka, teka, I believe I might have confused Adi’s crew cut with Romy’s equally straight hair but with Pol Salcedo’s greased lighting with “hati” sa kaliwa, right?

. Leon Mayo 9:01 AM (8 hours ago) to Yahoogp, AA, me, citizenkate, Fiel  The Saga Continues . . . Yesterday, the Manhattan CAFAs had a get together at Chelsea (on 23 St.) upon the invitation of Rody Picar.  Tong and Rita hosted the lunch at 'Spice', an Asian fusion resto.  After the great lunch the guys proceeded to Rody's nearby pad for coffee.  Apart from Rody, the guys were:  Eileen, Rudy and Cindy, Romy and Rori, Nore and Didi, Tong and Rita, Bili and Oni.  Howi, was a able to join only after work but still in time to catch remnants of Rody's delectable coffee and sweets fare.     After talking about the people who were not there, the group agreed to have an excursion on Saturday. The destination will be Poconos (Pennsylvania) in Rody and Howi's vacation home.  Paging Tito and Sam, please get in touch with Rody, Tong or Rita for the details or forever hold your piece. Also, can anyone bring a guitar para masaya ? Check out the attached photos.

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Leon Mayo
9:01 AM (8 hours ago) Leon Mayo,
to: Yahoog CAFA – cafasingers
cc: AA Billie, CAFA, Glenn Bautista,Kate, Fiel Zabat –
The Saga Continues . . .
Yesterday, the Manhattan CAFAs had a get together at Chelsea (on 23 St.) upon the invitation of Rody Picar. Tong and Rita hosted the lunch at ‘Spice’, an Asian fusion resto. After the great lunch the guys proceeded to Rody’s nearby pad for coffee. Apart from Rody, the guys were: Eileen, Rudy and Cindy, Romy and Rori, Nore and Didi, Tong and Rita, Bili and Oni. Howi, was a able to join only after work but still in time to catch remnants of Rody’s delectable coffee and sweets fare.
After talking about the people who were not there, the group agreed to have an excursion on Saturday. The destination will be Poconos (Pennsylvania) in Rody and Howi’s vacation home.
Paging Tito and Sam, please get in touch with Rody, Tong or Rita for the details or forever hold your piece. Also, can anyone bring a guitar para masaya ?
Check out the attached photos. (more on – -> CAFAsingers)

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RomyRoryGlenn

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Gentle Rain: Noel Plana, Adi Baens Santos, Glenn Bautista, Nonong Pedero, Rody Picar

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Gentle Rain: Noel Plana, Adi Baens Santos, Glenn Bautista,
Nonong Pedero, Rody Picar

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U P C F A  /  O D Y  –  S A R A H 

W E D D I N G

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UP mates

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Ody – Sarah Wedding / UPCFA college mates
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Maria Natale, Vinchu Lapid, Emily T. Abonal and 5 others like this.
View 25 more comments
May 2, 2012
Ging Ticzon Tiongson: June…its glenn bautista who tagged me this photo..not tina
Armand Bacaltos: “Six degrees of separation”: I post this photo, tag Tina Bacaltos (my wife), tag Glenn A. Bautista, who inturn tags Ging Ticzon Tiongson, who is apparently a friend of June L. Alibudbud, who is a friend of Tina and me and happens to be the wife of my former classmate in Ateneo …so there ! The wonders of facebook!
Mariquit Soriano: correct… and since I have set my wall to private and thus didn’t expect that I would be tagged, am wondering, hehehe –who is Armand?? Torch or no torch, the Tiongsons are dear, dear friends and of course Ging falls in that category. Glenn is a special friend, ehem.
Ging Ticzon Tiongson: Of course Kit…Glenn is a special friend & remains to be one despite the “separation!” ehem..haha..just found a long lost friend on facebook…what facebook can do!!!
Glenn A. Bautista: No one ever lost me, my spirit is omnipresent, hehe. Armand? – – is a younger dear frat bro, friend & UP mate, the younger bro of Emily, my UP Fine Arts mate. Do we have reason enough to “kitakits” when I come home, possibly this Dec?
Mariquit Soriano: oh wow, of course Glenn! Ging Ticzon Tiongson and I would love to catch up on kuwentos and all. That is if you’re not scared to be smothered with kisses and hugs from the both of us. Excited na rin si Ging, hehe.

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Emmanuel Garalde: Remembering Pohl Soller at Mrs. Soller's house. September 25, 1975 September 24, 2011  Bon C. Reyes: In search of the lost chord. Glenn A. Bautista: thanks Noli for posting this photo . . Glenn A. Bautista: Btw, Lorna remembers the blue rectangular cookie can w/ negs . . hope to find it one day in BF Homes . . . Emmanuel Garalde: I hope you find it. Mrs. Soller gave it to me when Pohl died.They did not know what to do with it. There are lots of memories in those negatives. Samuel Santamaria: just noticed Hector's classic studio pose: nakahawak sa dahon  Peggy Bose: Asan si Santy? Emmanuel Garalde: d ako sure kung andito siya at that time.

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 Remembering Pohl Soller at Mrs. Soller’s house. September 25, 1975
September 24, 2011
Bon C. Reyes: In search of the lost chord.
Glenn A. Bautista: thanks Noli for posting this photo . .
Glenn A. Bautista: Btw, Lorna remembers the blue rectangular cookie can w/ negs . . hope to find it one day in BF Homes . . .
Emmanuel Garalde: I hope you find it. Mrs. Soller gave it to me when Pohl died.They did not know what to do with it. There are lots of memories in those negatives.
Samuel Santamaria: just noticed Hector’s classic studio pose: nakahawak sa dahon
Peggy Bose: Asan si Santy?
Emmanuel Garalde: d ako sure kung andito siya at that time.

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Pohl celeb - alm

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UPCFA Friends & Family at Mama Pohl’s place
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Samuel Santamaria, Emily T. Abonal, Bon C. Reyes and 14 others like this.
Emmanuel Garalde: Remembering Pohl Soller. September 25, 1980 at Mrs. Soller’s house.
Armand Bacaltos: Natatandaan mo kung hanggang anong taon tayo nagpupunta sa kanila tuwing Sept. 25, Noli?
Armand Bacaltos: Si Evita ba yung sa harap ni Becky?
Emmanuel Garalde: check ko mga negatives ko. there was one time we went to glenn’s house in cavite. yes that’s evita and children.
Mutya Bose-Roldan: LOVE!
Bon C. Reyes: Kanino yung Nikon sa table?
Emmanuel Garalde: kay hector ata. motorized pa.
Glenn A. Bautista: amazing photo . . . tnx4sharing, Noli . . .
Brandon Ferguson: I picked you out immediatley!
Mario Santa Maria: Happy Birthday Noli!
Isabelle Besinga: nice to see familiar faces

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UPCFA Friends & Family at Mama Pohls place

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UPCFA Friends & Family at Mama Pohl’s place. She is famous for her “dinuguan”

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Evita, Len, Thelma, Bambi, Maria - photo courtesy of Len Francisco

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BLMs – Evita, Len, Thelma, Bambi, Maria (photo courtesy of Len Francisco): Armand Bacaltos, Teresa Liceralde Elloso Celdran, Geoffrey Bernard William Little, Vics Magsaysay, and 2 others like this.
Maria Natale: Too hilarious
Glenn A. Bautista: Seriously Maria, what does “BLM” stand for?
Maria Natale: Babe Light Movement . NOT!
Glenn A. Bautista: How can you members of “BLM” forget?!?!?
Emmanuel Garalde: Blue Ladies Movement. ALM. Kaya BLM.
Glenn A. Bautista: Thanks, Noli for clarifying . . .

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ALMs & Ma's Concern - CCC - UPCFA / February 7, 2011  @ Bim's Place near Cubao, QC  Armand Bacaltos: Si Ed Labadia nga ba yung nakatayo? Samuel Santamaria: Hindi si Ed L yun, kahawig lang. At bakit topless sina Bunny, Ben, at si Putchat. Armand Bacaltos @Sammy: Mahiwagang katauhan ito ....maalinsangan lang nung gabi na yun, walang kahulugan sa mga ano mang tendencies  Glenn A. Bautista: @ cno kumuha nito? . . kung panahon ni Adi noong andyan tayo, c Ed Labadia nga yan . . laging magkasama kumakanta yung dalawa @ Ping Fargas sa amphitheater sa CFA. Dati c Adi nag-aarange ng ibang kanta ng Ma's Concern sa haybols ni Bim. Armand Bacaltos: Tag mo si Ed para sya na mismo ang either mag-confirm or rebut. Maria Antonieta Vasquez Salazar: manonood kami at makikinig tagapalakpak ulit youtube nyo

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ALMs & Ma’s Concern – UPCFA / February 7, 2011
@ Bim’s Place near Cubao, QC
Armand Bacaltos: Si Ed Labadia nga ba yung nakatayo?
Samuel Santamaria: Hindi si Ed L yun, kahawig lang. At bakit topless sina Bunny, Ben, at si Putchat.
Armand Bacaltos @Sammy: Mahiwagang katauhan ito ….maalinsangan lang nung gabi na yun, walang kahulugan sa mga ano mang tendencies
Glenn A. Bautista: @ cno kumuha nito? . . kung panahon ni Adi noong andyan tayo, c Ed Labadia nga yan . . laging magkasama kumakanta yung dalawa @ Ping Fargas sa amphitheater sa CFA. Dati c Adi nag-aarange ng ibang kanta ng Ma’s Concern sa haybols ni Bim.
Armand Bacaltos: Tag mo si Ed para sya na mismo ang either mag-confirm or rebut.
Maria Antonieta Vasquez Salazar: manonood kami at makikinig tagapalakpak ulit youtube nyo

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Glenn A. Bautista / January 24, 2011 @ Jing's Place? — with Rommel F. Reyes, Peggy Bose, Tina Bacaltos, Armand Bacaltos, Emerito Garcia and Edgar Salazar. Armand Bacaltos: No, this was at Ad's place in Calamba on the occasion of our 25th wedding anniversary (Tina and I) in 2001. A few days before 9/11 took place. Glenn A. Bautista: I thought I was alone in BF watchin' tv when it took place. How come I was with the group? Did you then pick me up in BF or meet at a Shell station somewhere?  Armand Bacaltos: Dinaanan ka namin sa BF. Glenn A. Bautista: ah, wow . . siguro nga. Glenn A. Bautista: Bim, kindly tag d others . . Glenn A. Bautista: emerito ba c pride? Glenn A. Bautista: yung nasa harap sa kaliwa . . Armand Bacaltos: emerito, pride, bato, tobats and "master Bates" to Artists' Circle neophytes XD Armand Bacaltos: Yung nasa kaliwa, si Jimmy Jimenez, pioneer brod sa Artist's Circle. Rommel F. Reyes: Braaaad... pang Smithsonian photo ito. Was this colorized from a B/W photo??? Regards to all!!! Glenn A. Bautista: Not at all Rommel, this must have been taken w/ my first archaic Sony Mavica floppy disk card digital camera. T'was expensive but res was not so good, even d color . . but better than nothin', d ba? But, I think this wasn't d orig file but a small res version . . Edgar Salazar: 101% sure ako orig file iyan kaya nga mukhang mga matatanda mga boys, pang archaic talaga mga dating- mga chicks lang talaga nagiging bata...di ba tins? Armand Bacaltos @Bunny: Mukhang bata kaya sila dahil hindi natin binibigyan ng problema kaya masaya? Glenn A. Bautista @ bunny & bim: . . ows, talaga?, hehe . . sumipol kaya ako ng d gud d bad n d ugly, haha . . memories ba bimB? Edgar Salazar: madame malou - kasama ka sa mga hindi problemado kaya beauty ka pa rin.....YESSSSSS!!!! kamusta na mga frends malou,glenn,mel sr.,etc etc...si bim,sieg at rito nagkasama kami last wk.. Armand Bacaltos @Bunny: na-sentensyahan na ni Joaquin yung toblerone ni Noli kaya kelangan magkita ulit tayo ni Sieg bago sya umuwi sa States. Emerito Garcia: Bro, ano ba ang huli nyong usapan nila sieg. kailan ang balik niya d2 manila? Sana mayroon pa siyang time para magkikita pa tayo! Armand Bacaltos: siguradong magkikita pa bago sya umuwi sa 20th. Nagpapa-reserve pa kay Tins ng flight sa busuanga. Emerito Garcia: Bro di ba dapat may theme ang ocassion na ito? Hawaiian ba? bakit ako lang yata ang sumunod. Alam mo ba na hiniram ko pa itong suot ko sa Hyatt? Emerito Garcia: Sana weekend para makasam lahat Armand Bacaltos: Hawaiian nga theme pero kj lang yung iba. Meron kayong nahihiraman ng ganon sa Hyatt?

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January 24, 2011
@ Jing’s Place? — with Rommel F. Reyes, Peggy Bose, Tina Bacaltos, Armand Bacaltos, Emerito Garcia and Edgar Salazar.
Armand Bacaltos: No, this was at Ad’s place in Calamba on the occasion of our 25th wedding anniversary (Tina and I) in 2001. A few days before 9/11 took place.
Glenn A. Bautista: I thought I was alone in BF watchin’ tv when it took place. How come I was with the group? Did you then pick me up in BF or meet at a Shell station somewhere?
Armand Bacaltos: Dinaanan ka namin sa BF.
Glenn A. Bautista: ah, wow . . siguro nga.
Glenn A. Bautista: Bim, kindly tag d others . .
Glenn A. Bautista: emerito ba c pride?
Glenn A. Bautista: yung nasa harap sa kaliwa . .
Armand Bacaltos: emerito, pride, bato, tobats and “master Bates” to Artists’ Circle neophytes XD
Armand Bacaltos: Yung nasa kaliwa, si Jimmy Jimenez, pioneer brod sa Artist’s Circle.
Rommel F. Reyes: Braaaad… pang Smithsonian photo ito. Was this colorized from a B/W photo??? Regards to all!!!
Glenn A. Bautista: Not at all Rommel, this must have been taken w/ my first archaic Sony Mavica floppy disk card digital camera. T’was expensive but res was not so good, even d color . . but better than nothin’, d ba? But, I think this wasn’t d orig file but a small res version . .
Edgar Salazar: 101% sure ako orig file iyan kaya nga mukhang mga matatanda mga boys, pang archaic talaga mga dating- mga chicks lang talaga nagiging bata…di ba tins?
Armand Bacaltos @Bunny: Mukhang bata kaya sila dahil hindi natin binibigyan ng problema kaya masaya?
Glenn A. Bautista @ bunny & bim: . . ows, talaga?, hehe . . sumipol kaya ako ng d gud d bad n d ugly, haha . . memories ba bimB?
Edgar Salazar: madame malou – kasama ka sa mga hindi problemado kaya beauty ka pa rin…..YESSSSSS!!!!
kamusta na mga frends malou,glenn,mel sr.,etc etc…si bim,sieg at rito nagkasama kami last wk..
Armand Bacaltos @Bunny: na-sentensyahan na ni Joaquin yung toblerone ni Noli kaya kelangan magkita ulit tayo ni Sieg bago sya umuwi sa States.
Emerito Garcia: Bro, ano ba ang huli nyong usapan nila sieg. kailan ang balik niya d2 manila? Sana mayroon pa siyang time para magkikita pa tayo!
Armand Bacaltos: siguradong magkikita pa bago sya umuwi sa 20th. Nagpapa-reserve pa kay Tins ng flight sa busuanga.
Emerito Garcia: Bro di ba dapat may theme ang ocassion na ito? Hawaiian ba? bakit ako lang yata ang sumunod. Alam mo ba na hiniram ko pa itong suot ko sa Hyatt?
Emerito Garcia: Sana weekend para makasam lahat
Armand Bacaltos: Hawaiian nga theme pero kj lang yung iba. Meron kayong nahihiraman ng ganon sa Hyatt?

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Armand Bacaltos: Sketched during one of our gatherings at Ad's resort in Calamba. Four years later, this was brought by his sisters to be exhibited at the chapel where his wake was held after he passed away in December 2005. Our dear departed friend will be in our hearts forever. Glenn A. Bautista: Sonny from QC would pick me up from Imus just to play golf in Carmona - Southwoods Golf course. Didn't get to take pictures then. Would have been great if I have pictures to remember him by. At least, I have a Callaway driver from him which I still use...See More

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Armand Bacaltos: Sketched during one of our gatherings at Ad’s resort in Calamba. Four years later, this was brought by his sisters to be exhibited at the chapel where his wake was held after he passed away in December 2005. Our dear departed friend will be in our hearts forever.
Glenn A. Bautista: Sonny from QC would pick me up from Imus just to play golf in Carmona – Southwoods Golf course. Didn’t get to take pictures then. Would have been great if I have pictures to remember him by. At least, I have a Callaway driver from him which I still use…See More

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Glenn & Bim-Glenn'Studio, Imus, Cavite

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Glenn & Bim-Glenn’Studio, Imus, Cavite

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Bim Bacaltos, Peggy Bose, Glenn Bautista / Recording Songs

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Bim Bacaltos, Peggy Bose, Glenn Bautista / Recording Songs

Glenn A. Bautista @ Ad's Place — with Peggy Bose, Armand Bacaltos, Tina Bacaltos and Adrienne Aguilar.

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Glenn A. Bautista
@ Ad’s Place — with Peggy Bose, Armand Bacaltos, Tina Bacaltos and Adrienne Aguilar.

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Click

My-UP-Peyups-Days

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