Pix / BF Gallery-Studio Renovation / Sept ’12

*

Pix – GlenLornDav Gallery-Studio – Part 2

Photography / David Cruz Bautista

*

*

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

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

*

davHondaStudioBF2

*

(click images & underlined titles to view)

*

davHondaStudioBF3

*

Ladder2Roof

*

davLorn

Photo: by Glenn A. Bautista

*

dav1

Photo: by Glenn A. Bautista

*

cilla1

Photo: by David C. Bautista

*

davcilla1

Photo: by Glenn A. Bautista

*

frmGarage-roof

*

frmGarage-roof2

*

GarageShelves

*

GlennStudio1

*

GlennStudio2

*

GlennStudio3

*

GlennStudio-garage

*

GlennStudioRoof1

*

GlennStudioRoof2

*

GlennStudioRoof3

*

LornDav

Photo: by Glenn A. Bautista

*

Lorn-Nido

*

Nido

*

roofWoodSet2

*

roofWoodSet3

*

* * *

On Filipino Tribal Tools, Weaponry, Instruments & Writings

Image

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

(Click on images, underlined active titles to view)

*

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

*

Byron King, creator of Globatron.org

Byron King, creator of Globatron.org

*

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.

*

Image3

David’s Undecoded Alphabets

*

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.

*

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.)

*

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.

*

My correspondence with Wawi Navarroza:

*

*

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?

*

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.

*

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

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

*

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.

*

David's Modified Tagalog Phonetic-Syllabic Alphabet

David’s Modified Tagalog Phonetic-Syllabic Alphabet

*

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.

*

1375007_243831749099093_257652027_n

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

*

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.

*

*

brass-instruments weapons2-sml

*

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.

*

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.

*

baybayin

*

(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.

*

Image4

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

*

Image18

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

*

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.

*

writingscomp

*

weaponry-sml

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”.

*

*

flagcomp-sml

*

*

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

*

*

Baybayincomp2

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

GLENN’S OTHER BLOGS 

*

“from glenn to glenn”

"from glenn to glenn"

.

“from glenn to glenn”

.

 

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

*

Portrait photography by: Paolo Dy

.
Glenn Angeles Bautista
photography / Paolo Dy

*

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.

.

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″

.

childhood06

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

.

.

.
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

.

.

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

,
FOREWORD – by Alfredo R. Roces
.
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.
.
Alfredo R. Roces 
.
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..

dingr2

.
Alfredo R. Roces
.
(29 April 1923)

 .

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

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

.

danny boy



*

Glenn, Lorna and Baby David / Imus, Cavite

.
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.

.

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

.
Butterflyscape1 ’09 
by Glenn A. Bautista

.

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

*

An Art Review on Glenn's Pastels by John Altomonte

.
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    

.

. Glenn'Studio / Imus, Cavite, Philippines

.
Glenn’Studio / Imus, Cavite, Philippines

.

.

2ndmsg1

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

.

. Messages from Glenn

.

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

.

IMAG1859

.
Glenn playing basketball at the Central UMC court

.

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.

.
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.

*

1964-69 - School plate

.

Glenn’s UST / UP Schoolplates

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

 

brooks diploma -sml

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

.

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:

.

Glenn’s Journey as an Artist

*

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.

*

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.”

*

Painting History

.

rizaldet2

.
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.

.

.

bocobo-mural-up-college-of-law-glenn-bautista

.
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)

.

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.

.

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.

glennyouth_th

.
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. 

.
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.

.

 “Laskey Mural”

.

Laskey Portrait Mural Unveiling 72 b

.
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.

.

.

“Abstractions” (1970)

.

zen-series-by-glenn-1970-glenn-bautista

.
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.

.

.

Glenn A. Bautista / Recipient of the Thirteen Artists Award

.

13comp3 w names

.
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)
.
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.

.

.

“In Search of the Divine” ( 1976)

.

In search - litho - homecoming

.
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.

.

.

Mastering Lithography

.

mastering litho-cropped

.
Mastering Lithography
.
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

.

.

Glenn’s art in the eyes of…

.

In the eyes of 1

.

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

.

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

.

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

.

In the eyes of 2

.

glenncaricature

.
by Danny Aguila,
CARICATURIST-CARTOONIST

.

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

.

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

.

In the eyes of 3

.

.

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

.

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

.

*

Coralscape - final-sml

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

*

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.

.

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

.

GLENN’S OTHER BLOGS

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

* * *

          

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

.
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

.

CAFAsingers  -from ElyT

.
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).

.

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

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

*

mas concern w glenn

.
Ma’s Concern – UPCFA singing group / 1963-69 /
.

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.

*

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

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

.

Image3

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

.

Image4

.
@ 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  

*

gb n office-sml

.
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

*

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

.
San Jacinto Methodist Hospital
Baytown, Texas 77521

*

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!

*

.

483606_10151415261437732_1817690180_n

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

*

.

*

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

.
. 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
.
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

.

gb blood tests

.

.

pillboxes-sml

.
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)

.

meds.

*

. 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.

.
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.

.

*

. 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)

.
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)

.

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

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

.

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

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

.

prog-uhs-mila

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

.
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.

.

945514_10151502435542732_717755244_n

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

CovinaPoster-theresaServin

.

.

. 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.

.
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.

.

*

.

 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)

.
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

.
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.

.

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

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

.

Tiks etc . .

.

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

*

. . 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?

.
.
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?

. 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.

.
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)

.

.

RomyRoryGlenn

.

.

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

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

*

U P C F A  /  O D Y  –  S A R A H 

W E D D I N G

*

UP mates

.
Ody – Sarah Wedding / UPCFA college mates
.
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.

*

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.

.
 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.

*

Pohl celeb - alm

.
UPCFA Friends & Family at Mama Pohl’s place
.
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

*

UPCFA Friends & Family at Mama Pohls place

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

*

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

.
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 . . .

*

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

.
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

*

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?

.
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 😄
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?

*

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

.
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

*

Glenn & Bim-Glenn'Studio, Imus, Cavite

.
Glenn & Bim-Glenn’Studio, Imus, Cavite

*

Bim Bacaltos, Peggy Bose, Glenn Bautista / Recording Songs

.
Bim Bacaltos, Peggy Bose, Glenn Bautista / Recording Songs

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

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

*

Click

My-UP-Peyups-Days

*

*

* * *

2009-10 Colorado Pastels by Glenn A. Bautista

pix links CO

2009-10 COLORADO PASTELS
by Glenn A. Bautista
*
Having been there for a time, I could feel what transpired many years back when the elements carved the present ‘mind-blowing’ landscapes Colorado displays. It has also been theorized that what carved beautiful Colorado’s landscapes didn’t take years but could have occurred overnight, or a few days. Snow-trapped oxygen that forced its way out from under could have caused the formation of “Red Rocks” in Morrison and many other places around Colorado, from north to south. 

(double click any image or bold link to view)

south park-red rocks

COLORADO PASTELS 2010
by Glenn Angeles Bautista

Hi Joy & Bill, thank you so much for everything! Thanks too, Colorado! Hi Jim & Jon, we enjoyed the day's trip to Coors Brewery, Golden, CO. And thanks for my favorite grey jacket! Hi Tere, I have been using the HD you gave - - thanks again! Hi Mike & Cece, thanks for the lovely dinner and fun night. Missin’ Y’All ! - Glenn & Lorna

Hi Joy & Bill, thank you so much for everything! Thanks too, Colorado! Hi Jim & Jon, we enjoyed the day’s trip to Coors Brewery, Golden, CO. And thanks for my favorite grey jacket! Hi Tere, I have been using the HD you gave – – thanks again! Hi Mike & Cece, thanks for the lovely dinner and fun night. Missin’ Y’All ! – Glenn & Lorna

Lorna & Glenn / Thornton, Colorado

Lorna & Glenn / Thornton, Colorado
*
Lorna and I visited with a friend, Joy Zafra in Thornton. From there Joy showed us around – Denver, Golden, Morrison, Estes Park, Red Rocks, Cabrini Shrine and South Park where there is much flooding presently going on. I did quite a number of pastels in those areas. Here’s an active title link to some of those pastels I did there:

– – – – > >

glenlorn- colorado estes park

.

GlennDrives2EstesPark,Colorado

Historic Flooding Colorado September 2013

.

BlueMustangscape 2010

BlueMustangscape 2010
by Glenn A. Bautista
*
I couldn’t help but be amazed by this imposing horse sculpture in Denver, Colorado as I viewed it from a distance. I had to go back just to find the best view for this pastel composition.
From and to the Denver International Airport, you cannot miss seeing this controversial Mustang Sculpture by Sculptor Luis Jimenez.
They say that the horse sculpture would have been controversial even if it hadn’t killed him. The 32-ft. tall fiberglass, blue horse with red eyes had long ago been commissioned for the entrance of Denver International Airport. The horse broke loose from a support in the sculptor’s studio in 2005, pinning him against a wall. En route to the hospital, he died from his injuries. The Jimenez family finished the sculpture, but the “curse” element will be hard to shake off as time goes on for this one.
*

Denver Intl Airport 2010
by Glenn A. Bautista
*
Because of friends, Lorna landed a job in Sterling and Yuma Colorado. And because of friends, visiting Colorado again for a vacation, this time with Glenn, wasn’t a problem. And why is this? Joy Zafra, Lorna’s dear friend was there to pick us up from the airport, and we could stay at her place in Thornton, CO for any length of time we wished to. Beholding the Denver International Airport for the first time elicited in me this visual response – – expressed in this pastel sketch. A series of Colorado landscape pastels followed which I will soon upload.
*

RedRocksAmphiscape2010

RedRocksAmphiscapeB 2010 
by Glenn A. Bautista
*
A view on the right of Red Rocks Amphitheater from the top. I took a photo of this view and made an interpretative sketch of it at Joy’s place in Thornton, CO.
I completed the sketch in Pearland, TX. This pastel I did of the Red Rock amphitheater is not enough to express the landscape’s amazing panoramic beauty. There’s nothing like being there.
*

RedRocksAmphiscape2010 - b

RedRocksAmphiscapeC 2010
by Glenn A. Bautista
*
Just to approach this architectural icon among the rock formations that surround the amphitheater is enough to get any visitor excited. A rockscape blends with the Visitor’s Center, Red Rocks, Morrison, Colorado. It must have been deliberate for Architect Burnham Hoyt to blend the amphitheater he designed with the rock formations around. I noticed this when I started my pastel sketch on this famous place famous singers and bands continue to hold their open concerts.
*

Denverscape 2010

Denverscape 2010 
by Glenn A Bautista
*
A view on the left, of Denver, CO
from Red Rocks Amphitheatre,
Morrison, Colorado. Lorna’s friend, Joy brought us here together with their other PT friend, Tere who came in to Colorado for a visit. It was below 30F so we could only be outside enjoying the view for a few hours. I took a photo of this view and made an interpretative sketch of it at Joy’s place in Thornton, CO. I completed the sketch in Pearland, TX.
*

RedRocksD 2010 / Red Rocks, Morrison, Colorado / A stonescape in Red Rocks, Morrison, Colorado. Amazing rock formations are quite noticeable in Morrison, Colorado if you can find time to drive around. One gets the feeling of surfing on water although the formations around have always been solid, unlike the waves we experience when we go swimming or surfing.

RedRocksD 2010 / Red Rocks
by Glenn A. Bautista
*
A stonescape in Red Rocks, Morrison, Colorado. Amazing rock formations are quite noticeable in Morrison, Colorado if you can find time to drive around. One gets the feeling of surfing on water although the formations around have always been solid, unlike the waves we experience when we go swimming or surfing.
*

 RedRocksPalmFrondcomp 2010 / by Glenn A. Bautista /  Red Rocks, Morrison, Colorado / I was delighted to find a palm frond (fossil) on display at the Visitor's Center shortly before entering the gallery hall / theatre where all the famous singers and bands that performed at Red Rocks are featured in videos and photos, together with their guitar instruments, musical notes, lyrics, etc.  I have sketched several palms here in Texas but my fascination for them doesn't seem to diminish, be it real or fossilized, like this palm frond on the left that I blended with Red Rocks' wavy formation.


RedRocksPalmFrondcomp 2010 
by Glenn A. Bautista
*
Red Rocks, Morrison, Colorado / I was delighted to find a palm frond (fossil) on display at the Visitor’s Center shortly before entering the gallery hall / theatre where all the famous singers and bands that performed at Red Rocks are featured in videos and photos, together with their guitar instruments, musical notes, lyrics, etc.
I have sketched several palms here in Texas but my fascination for them doesn’t seem to diminish, be it real or fossilized, like this palm frond on the left that I blended with Red Rocks’ wavy formation.
* *

*

*

*

Colorado Trip Confirmation

Colorado Trip Confirmation

*

Glenn & Lorna - Estes Park, Colorado

Glenn & Lorna – Estes Park, Colorado

*

The “UNIVERSE” by Glenn A. Bautista

603370_10151235862622732_1995890124_n

In this album are artworks I have created, through the years that have to do with this earth I am stepping on and everything else around it. It includes spiritual landscapes that continue to haunt and revisit me, both awake and in my dreams, better expressed on large-format canvases to lessen or shorten this, seemingly, never ending journey, leading me to my Maker. – g.a.b.
.
.
The “UNIVERSE
by Glenn A. Bautista
.

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 have told you. I go to prepare a place for you”. (John 14:2 – King James Version / KJV)

.

*“EMBERS” by Glenn A. Bautista “They are neither dead, nor are they aflame. They manifest energy, but not in the hurried and impassioned way of flames, whose will to illuminate with pomp and brilliance leaves them sooner extinguished or reduce to a flicker. It is in contrast to this that embers show their virtue. - Glenn A. Bautista


Embersby Glenn A. Bautista
“They are neither dead, nor are they aflame. They manifest energy, but not in the hurried and impassioned way of flames, whose will to illuminate with pomp and brilliance leaves them sooner extinguished or reduce to a flicker. It is in contrast to this that embers show their virtue.  – g.a.b.

.

.

New Earth3 1992 - by Glenn Bautista / King James Bible - Revelation 21:1 - And I saw a new heaven and a new earth: for the first heaven and the first earth were passed away; and there was no more sea. Glenn Bautista Baytown, TE - United States"Why are we here?" In the talk, he will argue that tiny quantum fluctuations in the very early universe became the seeds from which galaxies, stars, and ultimately human life emerged. "Science predicts that many different kinds of universe will be spontaneously created out of nothing. It is a matter of chance which we are in," he said. Hawking suggests that with modern space-based instruments, such as the European Space Agency's Planck mission, it may be possible to spot ancient fingerprints in the light left over from the earliest moments of the universe and work out how our own place in space came to be. http://glenn-studio.artistwebsites.com/featured/new-earth3-1992-glenn-bautista.html


New Earth3 1992 by Glenn Bautista / King James Bible – Revelation 21:1 – And I saw a new heaven and a new earth: for the first heaven and the first earth were passed away; and there was no more sea. 

.

.

New Earth 1992 - a pastel pencil drawing by Glenn A. Bautista / Manila, Philippines


New Earth 1992 – a pastel pencil drawing by Glenn A. Bautista / Manila, Philippines

.

.

Airport2 1985 - Pastel-pencil series / Kunstakademie, Dusseldorf, Germany

Airport2 1985Pastel-pencil series / Kunstakademie, Dusseldorf, Germany

.

.

 Imperialism 1983 - by Glenn A. Bautista / Pastel-pencil (fantasy, cosmic, city, floral landscapes) on vellum created by Glenn Bautista while an art student at the Kunstakademie, Dueseldorf, Germany. (1980-85)


Imperialism 1983 by Glenn A. Bautista / Pastel-pencil (fantasy, cosmic, city, landscapes) on vellum created by Glenn Bautista while an art student at the Kunstakademie, Dueseldorf, Germany. (1980-85)

.

Leafscape 1983 - by Glenn A. Bautista / pastel-pencil on vellum / Kunstakademie, Dusseldorf, Germany

Leafscape 1983by Glenn A. Bautista / pastel-pencil on vellum / Kunstakademie, Dusseldorf, Germany

.

.

Pastel-pencil series / Kunstakademie, Dusseldorf, Germany / 1982 1982 Pastel-Pencil Composition on Vellum paper, one from a series of sketches I did in Dusseldorf, Germany at the Staatliche Kunstakademie where I was learning Lithography under Professor Rolf Sackenheim and Prof. Maria Buras.

Dreamscape ’82
Pastel-Pencil Composition on Vellum paper, one from a series of sketches I did in Dusseldorf, Germany at the Staatliche Kunstakademie where I was learning Lithography under Professor Rolf Sackenheim and Prof. Maria Buras.

.

.

Kohlrabbiscape 1982 - by Glenn A. Bautista / pastel-pencil series / Kunstakademie, Dusseldorf, Germany

Kohlrabbiscape 1982 – by Glenn A. Bautista / pastel-pencil series / Kunstakademie, Dusseldorf, Germany

.

.

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.

.

On His Way Out ' 82 by Glenn
On His Way Out – by Glenn A. Bautista
 .
Hi Byron,
.
Interesting thoughts you just expressed.
 I mentioned to you before that I wrote a short line about this – ->
.
 “BEING” – 
 “In is out, out is in, in and out IS = being.”
.
 But you expressed its essence in a more concrete way.
 It just makes sense that anything within a space is likely to influence each other,  depend on each other and possibly result in another form but originating from their sources, ‘ad infinitum’. A good example in nature is the “Birds of Paradise” where adaptation, natural selection and evolution are very apparent.
 I can visualize what you meant when describing earth being seen as an offshoot of things happening around it, but may have resulted in what is the “NOW” – because of human intervention, discoveries or creativity. But all along, they have always been there, only waiting to be tapped, explored and transformed. The speed of the internet for example has gone way fast compared to how it was before, and most recently from ‘fiber optics’ to ‘microwave’, traveling in a straight line.
 There is a spark of the “GOD” in all of us, if we only submit to the “Source of it All” which in abstract terms we call, Almighty God, Creator, All Seeing Eye, etc. In specific and human term, Jesus Christ, as revealed in human history and called and professed by Christians.
 Christians take a greater gamble or risk by believing in Christ, for they refer to a specific Savior – God. But those who deal with the essence, referring to the Source as God, All Seeing Eye, Light, etc . . have a safer role in their expressed beliefs.
 Thanks, Byron for thinking that I may have something to share about your inquiry. I know very little and many times, I am only guessing.
 Praying for your healing, always,
 – glenn
.
Inline image 2
Christ, Center of All Things – by Glenn A. Bautista

 .

.

.

.

.
Byron King – FIREFLIES
.
Superclusters
containing
thousands of galaxies
strung like pearls
filaments of galaxy clusters
the macrostructure
of our universe
at this scale
Supernovae
flicker like fireflies
Neurons
in the human brain
fire electrical signals
pulsing down dendrite
filament highways
lighting up our world
the entire universe
a vast quantum brain
imagining its best self
continually being born

.

Byron King – I compiled this here:

FIREFLIES

.

I do feel there is something cosmic and infinite. We are definitely a part of it. The eyes of it possibly, but then what isn’t the eyes of it. If it is all one. I like your spiritual almost mystical approach to “God” and Jesus. I do feel in a way all we are talking about is semantics. Like programming languages. If you know one, you supposedly can learn any of them rather quickly. I don’t program but get the idea of it because I see it in nature. When I was a painter I tried to copy the patterns I saw. I was interested in chaos theory and the golden mean. I feel Pythagoras was onto something. He surely was connected to a higher power, a doorway to the Godhead. I continued to ask myself how could I come close to replicating nature as it was too amazing to copy. Too amazing to quantifiy. Too amazing to understand. After pondering this for some time, and it is elementary actually, I realized I am nature and that any mark I made on a painting was being made by nature. When I realized that my marks became more sure of themselves. After that I felt there was an awareness or awakening in me that connected me back to the first mark makers. The first painters. The first artists. I get the same feeling when I run. It makes me think of hunters back before civilization and how we would herd animals while running them down over long distances. I am homo sapien. We are the wise man. Wise can be used rather loosely these days I feel. But there is this connection of the time space continuum that if tapped into can allow us to see the heavens. To feel empathy for all creatures. To expand our consciousness throughout all of time and space. Back to the first humans. Onward to our evolution into beings of psychic light data with no needs for bodies. No need for disease. I thought on this last night after watching the traggic parade that happened over the debt ceiling negotiations in the U.S. Government. I felt I needed to be released from this point in time and see myself in the wholeness of everything.  It healed me. Freed me from the the minutia of humanity. The constant bickering of greed and ego. With this perspective I hope to dwell for some time. I feel the wisdom in your last statement. Very Socratic of you. There is much eastern philosophy embedded in your statement.

. “Thanks, Byron for thinking that I may have something to share about your inquiry. I know very little and many times, I am only guessing.” Prayers for your continued healing as well. May we beat cancer all out.

Cheers. BK

GLOBATRON » FIREFLIES –

http://www.globatron.org

Byron King:

Wild little documentary on

Pythagoras

(It gets weirder the more one searches)

.

.

Donald in Mathemagic Land

*

to view more artworks on this series, just click on this active title – ->

The “UNIVERSE

by Glenn A. Bautista

.

David & My Vintage Photos

.

by

glenn.angeles.bautista

.

. "From Glenn's Childhood to David's Childhood"

.
  “From Glenn’s Childhood to David’s Childhood”
(Blog written, ca. 1990)

.

Glenn sketching
.
This photo of me must have been taken in 1968, so 1968 less 1947 (my birth year) = 21. This must be a good guess ‘coz this was how I looked when I was 21. This photo must have been taken by my father, or by me using the 120 Yashica-D twin lens box camera’s self-timer. This was really my father’s camera, a camera he used while he was in the US during his studies in theology in New York.To my left are two of my artworks: The pen & ink line drawing of the interior of the Central Methodist Church (circa 1963) based on a sketch I did, showing the left pulpit or lectern, and on its right, the box for the choir. Mrs. Daisy de Pano Parungao was our choir conductor then. Two of the pews on the foreground represent the many others behind. I used to fall asleep in these pews when the worship services were too long. The front railing with knee red cushions are for those who would either take communion, or just for a special prayer request or dedication, or for Glenn to take his first, second or even third drink of ‘grape juice’ and 3/8’ of bread, until my father whispered to my ears . . this is your last, Glenn, ok? . . . you might go past over heaven.Having lived at the Central Church parsonage (interior- – all varnished wood) for eight years, I am quite familiar with its every ‘nook and cranny’. Below the pen and ink, is a study for a stained-glass window, having been influenced by the beautiful transparent colors of the many stained-glass windows at the Central Church interior, created by a certain craftsman, Mr. Kraut. His medium was the authentic material for stained glass work called, ‘antique glass’.The books to my left were those of writers, Roger Fry, Herbert Read, CS Lewis and a few art brochures from art exhibits I had visited. The drawing board I was working on was handcrafted by my elder brother, I call, “Kuya Jun”, who now lives in Cerritos, California with his beautiful wife, Julie and lovely daughter, April. The ‘rattan’ table on my left is part of the parsonage’s furniture set.
.
JueJulyAprilPastel1-sml-FB-TXSBN
.
My recent pastel portrait of
Kuya Jun, Ate Julie and April
. Visit with John-Tess, Charlie, Tes & Lien Manalo - Paranaque; Kuya Jun at Glenn'Studio, Imus, Cavite

.
Visit with John-Tess, Charlie, Tes & Lien Manalo(Paranaque); Kuya Jun at Glenn’Studio, (Imus, Cavite)

*
.
dav & dadG

.
Dad Glenn & son, David – (September visit / 2012)

*
IMAG1960
.
The oil painting behind me was my first oil painting (I wonder where it is now?), copied from a small illustration about human figure/anatomy, from one of three books (below the stained-glass study) given to me by my father’s missionary friend. It’s purpose was to orient an art student about the basic solid forms the human body displays. I will ask David to look for his name written on the three art books. These books are really a compilation of lessons from the Famous Art School instructors from the US, such as Norman Rockwell, Ben Stahl, Fred Ludeken, etc. This was also the time when I won an international art competition held at the New York World’s Fair. Well, time really flies. I never realized that one day, I would be looking back to write about these photos David showed to me the last time I visited home. Thank you, David. You are, truly,  a blessing. I love you. Take care, God bless.
.
gab by david-enhanced
*
. A few pages from the Famous Artist School Correspondence Course.

.
A few pages from the Famous Artists Schools Correspondence Course
.
Hi Byron,
Yes, with the Lord’s guidance and blessing, I continue to stay healthy, stronger and always mindful of the things I do to maintain my physical body which is, as the Bible says, God’s temple.
I have been occupied and entertained writing my blogs merely by departing from the photos my son, David has been sending to me. I never realized that writing about the past – relating it to the present is such a good therapy. The day passes without noticing it. While I continue to pour everything via my blogs, I take my fruit and veggie smoothie, eat light meals, take a few dietary supplements, stretch, exercise, pitch golf balls in trickles and do everything in a very relax, slow pace. Nothing rushed.
Among many others, you and my elder sister, Eunice continue to keep me well and at peace with myself. As I said before, my ailment which could have been a curse, has become a blessing to me and to others. I am sure, you are experiencing the same for you have always been on the right path.
I continue to believe that I am healthy and that the good Lord – the greatest Physician, continues to keep me well. I will continue to pray for you and your family.
Blessings,
glenn
On Mon, Oct 14, 2013 at 11:07 AM, Byron King wrote:
FYI, what a sweet comment on your interview below. Just wanted to share it with you. I hope you are doing well. How is your health? Have you seen a doctor lately? Wondering how your blood work is doing with no chemo. I want you to beat it naturally. I want to beat my thing also so please keep me updated.
Sending our love….
– – –
Byron King
http://www.byronking.com
321-614-1818
I am globatron.org
.
From: Ate Necy
Date: October 14, 2013 at 10:07:56 AM EDT
To: byronking
Subject: [GLOBATRON] Comment: “Glenn Bautista”
New comment on your post “Glenn Bautista”
Author : Ate Necy
My Dear Glenn,
I’m speechless and tearful right now – with unspeakable joy – after reading and digesting every word in your priceless, treasure-filled gems of truth interview with Byron. What great spiritual insights! What deep and steady faith! God is rejoicing in heaven. You have finally discovered His life plan for you and you are fulfilling it. More so, God is enabling you to do it. Isn’t He so wonderful???
Adversities, trials in life sometimes God does allow to come into our lives to strengthen our spiritual muscles and to draw us closer to Him. You have become God’s agent wherever He has planted you. God is smiling down on you. Tatay and Nanay too! And of course, the whole family too!!!
You have truly evolved into a beautiful butterfly – your wings always flapping spreading the seeds of God’s love, grace and salvation for all. Keep it up, keep faith dear brother. You’re very safe in God’s loving hands!!!!
With Kuya Fil, Willy and Carol, we love you very much! Same to Lorna and David.
Always praying for you and our family daily,
Ate Necy

You can see all comments on this post here:
http://www.globatron.org/interviews/glenn-bautista#comments
Permalink: http://www.globatron.org/interviews/glenn-bautista#comment-9688

.
photography / David C. Bautista
.
. Famous Artists Schools Instructors / Westport, Connecticut, USA

.
Famous Artists Schools Instructors
Westport, Connecticut, USA
.
Norman Rockwell, Peter Helck, Al Parker, Jon Whitcomb, Stevan Dohanos, Austin Briggs, Ben Stahl, Harold Von Schmidt, Robert Fawcett, Dong Kingman, Fred Ludekens, Albert Dorne

.
.
. Chancel Choir led by Daisy Parungao, Central United Methodist Church Right image: Then, my nephew, young Jun Manalo; now Pastor John Manalo of UMC; Edwin, Glenn & John Wesley – taken w/ Tatay’s Yashica D 120 Twin lens Box Camera (ca. 1960-69)

.
Chancel Choir led by Daisy Parungao, Central United Methodist Church Right image:
Then, my nephew, young Jun Manalo; now Pastor John Manalo of UMC; Edwin, Glenn & John Wesley – taken w/ Tatay’s Yashica D 120 Twin lens Box Camera (ca. 1960-69)

*
.
. Rev I. P. Bautista & then, Jun Manalo, now - Pastor John Manalo

.
Rev I. P. Bautista & then, Jun Manalo,
now – Pastor John Manalo
.
I grew up in the Methodist Church . .
my father, Rev. Ignacio P. Bautista, a Methodist pastor,
-my mom, Eugenia, a Methodist deaconess,
-my younger bro, Edwin a Methodist choir conductor,
-my youngest bro, Johnny, a Methodist singing in the choir and lately conducting, too,
-my elder sis, Miriam, a Methodist hammond organist,
-my elder sis, Ate Loida, a Methodist pastor / B.D.
-my eldest sis Ate Necy, a Methodist deaconess
-myself, a Methodist visual artist . . .
but none of us really follow my father’s footsteps,
except for my nephew, Jun Manalo, now Pastor John Manalo.

.
.
.
past-current eventsDavid dearest,
.
An amazing map I bumped into (similar to National Geographic) just because I always read on my google site the past events of a current day. Today I was reading about the “Yom Kippur War”.
.
(1972) This particular map of the Holy Land is similar to the physical map given to me by a friend  I met at a train station in Barcelona, Spain (he worked with National Geographic – looking for his mother in Spain) –> where we were waken up by a fireman’s hose because we were sleeping on the floors of the train station. The hotels were full and we couldn’t avail of money exchange. That’s why numerous “back-pack-bag young travelers” like me had no choice than to sleep right there on the train station’s floor.
.
My friend told me to use a magnifying glass to appreciate the map, for each place has its notations similar to this one you are looking at now. When you zoom in to any part of the Holy Land map (+ & – sign), you will notice some significant events pointed to with an arrow that took place during Jesus’ time. Bible verses, sometimes, are also supplied.
.
I imagine an animal with upright ears (Lebanon), white bulging eyes (center of Jesus’ ministry), jaw (place where Jesus grew), nose of a pig or a wolf, eating something, also, pushing something (like a bull – Sinai Peninsula) and hurting something upwards (Lebanon) as if he’s got horns so I can easily remember the locations and events that transpired in these places during Jesus’ time.
.
This is the 66 yr old man’s way of going about learning something, hehe . . .
Learning about history, especially during Jesus’ time, I really find relevant and interesting.
.
.
love you
dadG
*
. Animal figure - an aid to remember places and events

.
Animal figurean aid to remember places and events
.
I imagine an animal with upright ears (Lebanon), white bulging eyes (center of Jesus’ ministry), jaw (place where Jesus grew), nose of a pig or a wolf, eating something, also, pushing something (like a bull – Sinai Peninsula) and hurting something upwards (Lebanon) as if he’s got horns so I can easily remember the locations and events that transpired in these places during Jesus’ time.

.

. Two month "Eurail pass allowing me to travel via train anywhere, anytime in Europe. I normally slept  where my room was inside the train availing of a bed they call "cochet", so I find myself in another country upon waking up. I had visited most of the 13 countries in Europe as a "bag-pack-bag traveler".

.
Two month “Eurail pass” allowing me to travel via train anywhere, anytime in Europe. I normally slept where my room was inside the train availing of a bed they call “cochette”, so I find myself in another country upon waking up. I had visited most of the 13 countries in Europe as a “back-pack-bag traveler”.

.

Other Photos sent in by David

(I will write about these photos one at a time)

.

.

suffer comp

.
The model for the painting, Suffer the little Children ’66”
is Kathleen Pascual Rodriguez, the daughter of Amie & Concepcion Pascual,
now residing in Oslo, Norway. 

.

IMAG1793

.
Rev. Ignacio P. Bautista, Mrs. Asuncion Perez, Mrs. Eugenia A. Bautista, Glenn Bautista (behind), Jun Bautista, Mr, Abrantes, Tio Kandong (Tatay’s brother)
Mosebrook Hall / Central Methodist Church

.

anne mosebrook

.
Anne Mosebrook / Pencil sketch ’64
by Glenn A. Bautista
.
Rodolfo Samonte, Brian Alvin, Emjay Javinez, Jeanne Jacob, John B Manalo, Byron King, Imelda Cajipe, Endaya, Ramon Orlina, Dante Hipolito, Cesar Angeles, Lcristina Bautista, Imelda Abella, Elvi Garcia Bangit, Maritez Cruz, Gisela Kistner, Linda Pirrone, Cesar Angeles, Louie N Jane A, Ramon Orlina and 2 others like this.
Cito Cruz: I remember those days.
Glenn A. Bautista: Yes, Cito, still quite distinct in my mind, too . .
John B Manalo: Wala na ang mga puno na yan sa Central.
Glenn A. Bautista: Haha, Pastor John, laging may pagbabago sa anumang bagay . . .
Anne Mosebrook-lewis: Glenn, I’m honored you saved htat pencil drawing of me sooo long ago…
Glenn A. Bautista: Hi Anne, it’s good to hear from you again. I tagged Karel, too. Do you still have this portrait with you? Keep in touch. God bless.
Anne Mosebrook-lewis: I do…infact my son has it…you must be doing well if you’re taking up golf…pleased to hear from you…
Glenn A. Bautista: That’s good to know, Anne. I just emailed you a thread about my health using your Facebook email addy. Hope it gets to you.
Glenn A. Bautista: Anne, I just got a msg that it didn’t get to you . . I will try sending it via FB message.

.

. Portrait of Dr. Gumersindo Garcia - by Glenn A. Bautista / Exhibited at the Gumersindo Garcia Hall, Central United Methodist Church, Ermita, Manila, Philippines

.
Portrait of Dr. Gumersindo Garcia -1967 
by Glenn A. Bautista / Exhibited at the Gumersindo Garcia Hall, Central United Methodist Church, Ermita, Manila, Philippines
.
Glenn: I was still a freshman then at the UP College of Fine Arts when I had this brief talk with the famous operatic singer, Aurelio Estanislao of the UP College of Music. He told me once, that in the near future, I will be leaving my beloved country, not because I am not happy with my life there, but because I will have to further hone my craft, learn more about other cultures and get to see, feel and absorb other cultures to make a better artist out of me. But, after all these, I must come back to, likewise, share what I have learned and experienced. I mentioned this here looking at Dr. Gumersindo Garcia’s portrait, simply because, Aurelio was a close friend of this humble, philanthropic medical doctor. When the good doctor crossed over to join his Maker, Aurelio sang at Dr. Gumersindo Garcia’s wake at Central Methodist Church, but could not finish his song, crying. These two great people made a difference in my life.

.

. Aurelio Estanislao is one of the 1959 TOYM Awardees for Sculpture. Gawad CCP Para Sa Sining was also awarded to Aurelio Estanislao for music.

.
Aurelio Estanislao is one of the 1959 TOYM Awardees for Sculpture. Gawad CCP Para Sa Sining was also awarded to Aurelio Estanislao for music. (c/o – wiredstate.com)

.

.

. Dr. Gumersindo Garcia, Anne Mosebrook, Amie Pascual, Pencil Sketch - Central UMC Interior, Watercolor - Exterior-right side of Central UMC

.
Dr. Gumersindo Garcia, Anne Mosebrook, Kathleen Pascual Rodriguez, Pencil Sketch – Central UMC Interior, Watercolor – Exterior-right side of Central UMC
.
More on: Glenn’s Christian Art

.

glen -junMirLoicomp

.
Kuya Jun, Ate Mir, Ate Loie & Glenn
Central United Methodist Church
.
David: hahaha crew cut daddy
Glenn: crew cut . . mahaba sa gilid, lawn mowered sa taas, hehe
David: haha ganda ng pics
Glenn: kroger, oks na grocery malapit lang sa amin . . mga 6 mins
. . magsasawa ka ngayon sa istorya ko, daming blogs, hehe . . luv u.
wl keep on adding, each day . .
David: hehe d naman ako nagsasawa, mahilig mo drawing ung mga damit mo aa picture hehehe
???
David: ung mga photo, dinadrawingan
mo ng ballpen, iniiba mo suot mo haha
Glenn: oo nga, e . . sayang ano?
e, bale period ko na rin sa kalokohan yun, hehe
David: haha
hindi sayang kasi naaalala m ung time na nagdrawing
ka sa photo
baka gusto mo ibahin damit mo noon
Glenn: Oo nga . . tapos, d ba, gumagawa ako talaga ngayon ng art photos?
Pwede ko pala ilagay doon na un an start ng art photos ko, hehe
David: oo
un ang original idea, haha, nice ano?
Glenn: Oo, nice to write blogs w/ pictures
David: yeah, always is. parang u appreciate d present and past more when u remember
Glenn: Ding Roces encouraged me to, kasi
Glenn: now, I understand DingR, why he loves to write
David: ano daw sabi nya pang encourage
Glenn: andun lahat sa blogs ko ang chat kay ding roces . .
he tells me specifically how to go about it .
Glenn: Now I understand why the good Lord made me create websites like: my art profile, youtube, my own site, artmajure, wordpress (tagal na ito, just neglected it),
I even have Blogspot . . I am using all of them as references for my new blogs . . linking them too
.
like start writing from a picture like the pic of me making a drawing on the drawing table , , w/ d books and pen & ink on d side, etc
David: siya din madaming blogs?
Glenn:oo nga . . pero regular talaga
pwede kang mag-subscribe via email . . anytime you can unsubscribe
or, i’ll just forward d good blogs from DingR

.

.Our basketball team at Central Methodist Church was called "Centralites". Members were: Bernardo Cabundoc, Tony Cabundoc, Oscar Ferrer, Jun Bautista, Leonidas Gutierrez, etc

.
Our basketball team at Central Methodist Church was calledCentralites“. Members were: Bernardo Cabundoc, Tony Cabundoc, Oscar Ferrer, Jun Bautista, Leonidas Gutierrez, etc

.

Image2-cheryl

.
Nemi Patenia, Glenn Bautista, Miriam Bautista, Cheryl Olivar
.
Nemi was a constant companion during Central Church days. He loves chatting with my father just about anything under the sun. He knows a lot about things like how to drink wine or any alcoholic drink without getting drunk, etc. Cheryl was an amazing “Hammond organ” player. I could not help but be impressed by her playing on “intermissions” during church services. Together with Jon Melegrito, Zeny Rifareal, Nemi Patenia and my elder sister Miriam, we often grouped together during choir rehearsals and refreshments. Unforgettable days at Central, indeed!

.

. Glenn Bautista, Leo Palaganas, the rest - ?

.
Glenn Bautista, Leo Palaganas, the rest – ?
Kitchen – Chancel Choir, Central UMC

.

. Tony Cabundoc, Edwin Lee Bautista,  John Wesley Bautista, Glenn Bautista / Luneta Park

.
Tony Cabundoc, Edwin Lee Bautista, John Wesley Bautista, Glenn Bautista / Luneta Park

.

glenMarArtcomp

.
I met with Arthur and Mario when I flew in May 2009 to California. Recently, because of my high schoolmates’ invitation to visit with them last May-June 2012, I got to meet again with Arthur. But shortly before that meeting, Mario, a dear friend had already crossed over to join his Maker. In the early ’70s, between Santa Barbara, California and Los Angeles, I would meet with Mario and other Filipino friends to stay with him for the weekend. My first three years as an art student at Brooks Institute/Santa Barbara, did not get to be a lonely journey because of Mario. He even visited me a few times in Santa Barbara, despite the 2-hour drive time along freeway 101. God bless you, Mario . . .

.

cooking outdoor

.
I can smell the “litson – lechon”
.
I can recognize Mario Abrantes (close to the tree trunks, my younger brother, Johnny (stooping down) Arthur Abrantes, my other younger brother, Edwin and myself. The one in front looks like Dean Castillejos.

.

561960_3155660608880_1850462430_n

.
This must be the W.S.C.S. 
Women’s Society of Christian Service
,
if I remember right.
.
These names are my guesses: (front) Mrs. Padilla, Ethel Mosebrook, Mrs. de Pano, ?, ?, Medina-Lacson de Leon, Asuncion Perez, ?, Mrs. Jacob, Espie de Rosario, ? (back) ?, Esther Pangindian, behind EsterP is Mrs. Corpuz -looking up, ?, the rest I do not recognize.

.

.
Early Religious Oil Paintings ‘1964-67
.
by Glenn A. Bautista / Central Methodist Church
Ermita, Manila, Philippines

.

. Glenn singing w Centralites - (Christmas Workcamp, Taytay, Rizal)

.
Glenn singing w/ Centralites:
.

Josie Bahia, Thelma Bersamin, ?, Glenn, Runes brothers, Bernardo Cabundoc, Peter Bersamin, Danny Cabundoc, Mario Abrantes, ? 

(Christmas Workcamp, Taytay, Rizal)

.

centralits - poolcomp

.
1st pic: Ruben Runes, Glenn, Arthur Abrantes, Thelma – 2nd pic: Glenn 3rd pic: Front: ? Bautista, ?, Josie Runes, Cora Cabundoc, Eden Melegrito
Back: Glenn, Peter Bersamin, Thelma Bersamin, Josie Bahia
(Christmas Workcamp, Taytay, Rizal)

.

MYF w Mir Glenn Jun

.
Methodist Youth Fellowship / Central Methodist Church
.

A few names I remember in this photo: Aquilino Javier, Rae Marcuelo, Stanley Jacob, Namor Enriquez’s brother, Daisy de Pano-Parungao, Cheryl Olivar, Zenaida Rifareal, Nemy Patenia, Tony Palaganas

.

. Glenn Bautista   Central UMC Days - ca. 1965

.
Glenn Bautista
Central UMC Days – ca. 1965
.
I can still remember the feel of wearing my socks and green “hush puppies”, the soft silky feel of my white shirt with black outline. Hair styling I was sporting then was called, “crew cut”.

.

Bautfamcomp

.
a: Wesley Methodist Church Parsonage – ca. 1954
b: Central Methodist Church Parsonage – ca. 1965

.

Wesley Methodist Church – ca. 1954

.

. (front): Glenn, Miriam, Jun (back): Rev. IP Bautista, Eunice ,  Deaconess Eugenia A. Bautista, Loida

.
Wesley Methodist Church
Santa Ana, Manila, Philippines
.
(front): Glenn, Miriam, Jun
(back): Rev. I.P. Bautista, Eunice ,
Deaconess Eugenia A. Bautista, Loida

.

It was also there that I found myself locked, inside the Wesley Methodist Church, until morning for having slept in one of the long pews, where my father, most likely, was the speaker for that night’s wake. You mean, I slept alone inside the church with another man’s coffin! I knocked several times just for them to discover, early in the morning, that their dear son Glenn was gone out all night on a date with a dead body in a coffin!

It was also there that my brother Jun, and I decided to do what a growing kid normally does a little after puberty. They do this to hasten one’s growth, so they say, and they dive straight into the salty river to hasten its healing. Kuya Jun and I did all these requisites only to find ourselves being commanded by my father to carry hollow blocks to help construct our house. Because of our reluctance to obey, my father eventually learned that we had gone through circumcision; he was again all over the place shouting, “Enyang”, “Enyang”.

Kuya Jun was my sparring partner. He was always behind me serving as a guide, be it a fight against the street kids in Sta. Ana, or decide for the best buy for sustenance with the little money left in our pockets. We decided to eat banana! Like north and south, we were really opposites. He was deliberate and talked very little. I was spontaneous and talked much. He loved math and geometry, and I loved to doodle and sing. We had a world of difference but we had love and respect for each other. He framed most of my early works and did the carpentry job for the first huge drawing board, the very same board where I composed an artwork, “The Event”, that won the International Christmas Art Competition in New York, at the New York World’s Fair in 1964-65. He was my first real art teacher. He always reminded me to use the color yellow to accent bring out the beauty in an artwork. Wait . . I’ll look for his photo so you get to see him.

At last, my search for a photo with him did not end in vain. Here’s an old one of Kuya Jun with Ate Julie, April, Tatay and Nanay. This was my chance, then, to return favors to him, after I’ve finally convinced him to come over to America. I became his instant guide in seeking employment for him. He passed all the requirements needed except for the physical examination because of weight problem. I asked him to eat his favorite fruit; three bunches of banana, equivalent to about fifteen to twenty pieces of banana, to reach the required weight! He passed, and, is still presently employed with that same IBM computer firm he sought employment with, in 1970.

.

natayjunjulieapril

.
Tatay, Nanay, Kuya Jun, Ate Julie, April

*

GLENN’S LIST OF BLOGS

.
.