Glenn Jailed at the Parthenon / Athens, Greece ’72

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Glenn Jailed at the Parthenon

Athens, Greece ’72

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Thank you David for showing me my old stationery. Can you take a clearer image to show the line about “truth” written? I totally forgot about this. I had this stationery when I first moved in to BF Homes in mid 70s. Then, I lived in my first house at 122 C.C. Santos street, purchased from BF Homes at around 76T. Where you are staying now in Osorio Street is my third house in BF. Also, if you can find my handwritten diary with photos about my trip to Europe, specifically an image of me and two other female friends walking at the Parthenon, kindly take a clear image of this unclear photo. Love you.

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“Long, long ago the Truth was found,

a company of men it bound.

Grasp firmly then that ancient Truth.”

by Glenn A. Bautista

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glenn.angeles.bautista

I don’t really remember where I got this quotation about “truth”.

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. (images just sent in by David) Thanks, David.

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(images just sent in by David) – Thanks, David.

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But, somehow, in a gist, this expresses a common thing about humans in need of getting to a truth or the Truth – – a built-in longing expressed or suppressed deep inside in all of us.

And if this is not the case, some would say, that particular human does not possess any conscience.

Shortly before I found myself in front of the “Erectheum” at the Parthenon in Greece, I was for almost three years, away from my beloved motherland, Philippines, an art student at the Brooks Institute of Fine Arts in Santa Barbara, California. It was only on the second year that I began to accept that I would do everything by myself: go to the market or grocery, do my laundry and dishes, cook food, etc., for in the Philippines, we had household help and I had several workers helping me with my projects, or create artworks.  I did not realize that for most of my life, I was dependent on everything around me when I was living my life in my country in the Philippines. Somehow, as a Filipino, I had neglected, overlooked what I was in relation to my siblings, father and mother, my extended family and circle of friends.

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. May-June 2012 Visit to Santa Barbara and Past Activities as an Art Student at Brooks Institute - '70-'72

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Glenn’s May-June 2012 Visit to Santa Barbara and Past Activities as an Art Student at Brooks Institute – ’70-’72

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So, the term, dependence or independence came to view. What was right and what was wrong? Or, should we just leave things as they were and as they are, presently, for Filipinos experiencing the same in their own space and time? Or, should criticism or discussions be made to bring about better realizations for a better future for the next generations of Filipinos? At this stage of my life or existence, only then did I begin to question, or wonder.

When I was much younger, I used to tell myself. Should we question, should we answer? Only to find out later after several “satsangs” with my guru from the Himalayas that another culture out there would say, “there are no questions, there are no answers”, there is just “being”.

So, for a time, I practiced “BEING”. It did open a lot of doors. It did open my soul and mind. It did reach out to me and to others. It did not take any effort, because if I did take effort, I would not have realized what “being” meant, or what it is all about.

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. . The Caryatids at the Erectheum Parthenon, Athens, Greece . The stones lying around were the same stones I was making rubbings of. Some tourists would sit on and even step on those stones since most of them didn't even notice the icons or Greek designs found in them. My intention was to make further studies about Grecian symbols and learn from them, almost firsthand, since the rubbings I was making were direct impressions of those icons. Rubbings are the closest documentation of rare icons I could think of - better than photography. The earth dust extracted right there could further be studied for future art students to learn from. The impressions of the icons on paper could be closely further investigated as if one is in front of the real stone icon. With proper protection from the elements, the rubbings may even avoid further deterioration that those stones exposed to the elements since the destruction of the Parthenon by marauding invaders like the Turks. .

.The Caryatids at the Erectheum
Parthenon, Athens, Greece
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The stones lying around were the same stones I was making rubbings of. Some tourists would sit on and even step on those stones since most of them didn’t even notice the icons or Greek designs found in them. My intention was to make further studies about Grecian symbols and learn from them, almost firsthand, since the rubbings I was making were direct impressions of those icons. Rubbings are the closest documentation of rare icons I could think of – better than photography. The earth dust extracted right there could further be studied for future art students to learn from. The impressions of the icons on paper could be closely further investigated as if one is in front of the real stone icon. With proper protection from the elements, the rubbings may even avoid further deterioration than those stones exposed to the elements since the destruction of the Parthenon by marauding invaders like the Turks.

220px-Bota_de_vino

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” I then mixed it with a bit of water from my goat-skin water bag and with my hand, rubbed the “Parthenon earth mixture” . . .

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In front of the Caryatids at the Erectheum, I was done filtering earth to extract fine dust using a plastic screen I had in my goat-skin shoulder bag. I then mixed it with a bit of water from my goat-skin water bag and with my hand, rubbed the “Parthenon earth mixture” on to a thin but strong paper to extract an exact copy of the design of an icon that seemed to display a cross or a plus icon or symbol. I was too engrossed to realize that quite a number of tourists had already surrounded watching me, when two Parthenon guards, to my left and right, grabbed my arms stopping me with the ongoing process of making an earth rubbing of the cross or plus symbol.

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Thinking back, it was quite unthinkable that I would be apprehended just by touching a piece of stone outdoors . . .

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Before I knew it, I was in jail for a day, not too far from the Parthenon. It was then, that I thought of counting how many rubbings I had done during my 2-month Eurail-pass journey of Europe. In the process of counting, a guard let me out and accompanied me to the jail’s office. In brief, I managed to explain, at length, what I was doing when I was apprehended. Thinking back, it was quite unthinkable that I would be apprehended just by touching a piece of stone outdoors, under the heat of the sun at the Parthenon where most tourists even stepped on most of the stones around. Perhaps, pocketing or better yet, stealing some of these Parthenon stones lying around be a better reason why a visitor could be apprehended.

The tear on the upper right of the image above was where my left foot was, so the wind would not blow the rubbing away from me as I worked on it. As you can see, the rubbing was not really completed.

This unpleasant experience at the Parthenon did not stop me from making more rubbings, even around the Parthenon. I did quite a number of rubbings at the Temple of Zeus and many other important Greek edifices. I also did rubbings in Brindisi, Corfu, Calais, Rome, Florence, Delphi, Corinth and other places in Europe.

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map of the Parthenon

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Parthenon / Athens, Greece

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In 1987, Gallery Genesis asked me if I wanted to have a retrospective show at the Cultural Center of the Philippines to which, after some thought, I agreed, although I thought it was really too early for me to have a retrospective show. But anyway, I was quite excited about the opportunity to be able to exhibit at CCP, almost without limit for most of my works worth exhibiting.

In this retrospective exhibit which I called, “halo-halo” (1987 – “Halo-Halo”, Little Gallery, CCP, Manila) I exhibited most of my favorite thumbnails, sketches, pastels, oils and  sculptures. My poster incorporated the image of the real “halo-halo” ingredients and glass (no image available). Halo-Halo is a traditional Filipino treat consisting of a blend of fruits, sweet preserves, evaporated milk, and shaved ice. It is frequently topped with a scoop of ice cream. The name literally means “Mix-Mix.” So now, you know what I mean.

In this art exhibition, I also included all of the “rubbings” I did in Europe, a very precious, personal collection that I did not even think of selling.  One day, I visited my “Halo-Halo” art exhibit and was surprised to find out that all my artworks were not anymore on exhibit. Normally, I personally take down my own artworks and get some help from my friends as I did when I initially installed the artworks for that art exhibit. So, I thought, I should pay Genesis Art Gallery a visit to find out what happened.

But before I could plan on doing that, I got a call from Ernie Salas’ secretary asking me to come over to see him at his office, which I did. I was caught by surprise when he mentioned that I owe him a lot of money and that I had not been in full compliance with our contract – that is, my regular check from the gallery against my artworks. So, right there and then, Ernie Salas offered that the gallery gets all my “Halo-Halo” exhibit artworks for both of us to call it “quits”. Emotional as I was, I felt I did not have any choice than to accept Ernie’s offer.

So, looking back, together with my favorite early works from ca. 1967-87, and the “rubbings” I did in Europe in ‘72, that’s my story how I lost ownership of my favorite, personal art collection. By the way, Chi-chi Salas, the gallery owner, after a time, allowed me to get a few of my very personal artworks, only I could appreciate.

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So, as they say in Germany,

“Leben ist leben” – “Life is life”.

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Again, as deem apropos, here goes that line

I used then at my stationery,

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“Long, long ago the Truth was found,

a company of men it bound.

Grasp firmly then that ancient Truth.”

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sakit basahin

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I just searched the internet and found that Goethe wrote this line:

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long long ago - -.

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This came in just this morning from my UPCFA mate and friend, Noli Garalde:

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. . Glenn A. Bautista: Noli bro, kindly send to me asap good resolution images of all rubbings you have. You once showed me those but can't find them. I am writing about my rubbings in Greece. Kindly include any related images. Thanks bro . . . Today - 10/26/20136:39am Emmanuel Garalde: Glenn, I found the rubbing on tracing paper you gave me 41 years ago. I wrapped it in plastic, and taped it on an illustration board. It is slowly deteriorating. I could not find the other one. I remember I framed it....memories! . Glenn A. Bautista: Thanks, Noli. At least we got one rubbing from our ends. I included our correspondence in a blog about my rubbings in Europe which I started writing about last night. I will continue to add any additional information as they come.

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An Icon from Roman Agora (Foro Romano)
An Earth Rubbing
by Glenn A. Bautista
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Pikilis, Athens, Greece / July 30, 1972
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Glenn A. Bautista: Noli bro, kindly send to me asap good resolution images of all rubbings you have. You once showed me those but can’t find them. I am writing about my rubbings in Greece. Kindly include any related images. Thanks bro . .
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Today – 10/26/20136:39am
Emmanuel Garalde: Glenn, I found the rubbing on tracing paper you gave me 41 years ago. I wrapped it in plastic, and taped it on an illustration board. It is slowly deteriorating. I could not find the other one. I remember I framed it….memories!
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Glenn A. Bautista: Thanks, Noli. At least we got one rubbing from our ends. I included our correspondence in a blog about my rubbings in Europe which I started writing about last night. I will continue to add any additional information as they come.
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Glenn A. Bautista: Btw, Noli, you can retouch the rubbing a bit just with eraser, then spray with any artwork varnish. If too expensive, you can get any lacquer or acrylic varnish spray can but spray the artwork at least 15″ away little by little with pauses. Just so it doesn’t get soaked in strong lacquer varnish, it will be properly protected. Better yet, spray both sides.

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. An Icon from Roman Agora (Foro Romano) An Earth Rubbing by Glenn A. Bautista . Pikilis, Athens, Greece / July 30, 1972

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The Cross Icon
in front of the Caryatids at the Erectheum
Parthenon, Athens, Greece
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An Icon from
Roman Agora 
Earth Rubbings
by Glenn A. Bautista
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Pikilis, Athens, Greece / July 30, 1972

crosscomp-final-sml

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The Caryatids at the Erectheum
Parthenon, Athens, Greece
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My earth rubbing of a cross I found there compared to other crosses found in Greece.

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Remnants of Glenn’s 
First 2-Month Tour of Europe 
when he was a Student

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. (1972) A scanned super-8mm celluloid film of me walking across from the St. Peter's basilica in Rome, the only remaining documentation of my sojourn in Europe after a house invasion at my home studio in Imus, Cavite.  I visited most of the countries in Europe, using a 2-month Eurail pass, except Istambul , Turkey for I refused to have my hair cut. I was a student then on my way home from the US.  I got to extend my stay for several months more after playing at the Playboy Club Casino in London. I revisited Europe when I lived in Dusseldorf, Germany for five years. There I learned lithography at the "Kunstakademie":

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(1972) A scanned super-8mm celluloid film of me walking across from the St. Peter’s basilica in Rome, the only remaining documentation of my sojourn in Europe after a house invasion at my home studio in Imus, Cavite.
I visited most of the countries in Europe, using a 2-month Eurail pass, except Istambul, Turkey for I refused to have my hair cut. I was a student then on my way home from the US. I got to extend my stay for several months more after playing at the Playboy Club Casino in London, c/o an American friend, Karl Kanalz.
I revisited Europe when I lived in Dusseldorf, Germany for five years. There I learned lithography at the “Kunstakademie” and a bit of German life.

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. Glenn's Two-month Eurail pass allowing him to travel using the train anywhere in Europe.

Glenn walking around St. Peter’s Basilica / Rome, Italy / 1972
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Glenn’s two-month Eurail pass allowing him to travel using the train anywhere in Europe.

eurail-glenn

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Related link – active title – ->

A Foreword by My Beloved Ninong “Ernie” Salas

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book

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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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