University of Phoenix, Reston 2005 and Comments

From left to right:
Tanya Owens, Julian Oteyza, Satomi China Pirrone, Linda Pirrone, Mary Bronson (Reston Art League President) Kevin Owens, Reme "Mima" Cabacungan, Frank Redondo, Virgilio Rollamas

COMMENTS:

Dear Linda and Julian,

Thank you very much for your poem and the video of Pacita's Washington Memorial, and the material that you sent me about the 2002, 2003 and 2004 "Brown Strokes on a White Canvas" exhibitions. I know that Pacita was very pleased to be included in those shows.

I was also wondering if I could get your help with regard to establishing "Fundacion Pacita - the Pacita Abad Foundation" as a non-profit organization in the U.S. I imagine you or some of your colleagues must have a check list of things that I have to do to register a new foundation and receive a tax-exempt ID number from the IRS. Any help that you could give me would be much appreciated.

During the period immediately following the passing of Pacita, there was an incredible response from her friends and fans around the world. For everyone to share, I have put together a summary of the various memorials and events that were held in Pacita’s honor in Singapore, Manila, Batanes, Jakarta, Washington, D.C. and New York (see attached).

Over the next few months I will be working to legally establish her foundation “Fundacíon Pacita” in both the Philippines and the U.S., as well as moving ahead to launch her Studio/Museum on her native island of Batanes. I will send out more information on these projects after a few months.

I am also busy documenting and cataloguing her prolific output of paintings and other artistic creations. There is an enormous amount of work to do, as she created over 3,500 pieces of art. As part of this effort, I am gathering all types of materials (painting collectors’ photos, sketches, videos, articles, etc) in order to document Pacita’s incredible artistic career. I would appreciate any help that I can get, so if you have a painting by Pacita, or any photos or other memorabilia that you would like to share, please let me know.

I wish you the best in the “Year of the Rooster”, and on behalf of her family and friends, thank you for your support and love for Pacita.

Regards,
Jack

ART THAT EXTOLS AN INNER FULCRUM
By Remé Grefalda

Brown Strokes on A White Canvas ended its 2005 odyssey (“Honoring the Past, Living the Present, Preparing for the Future”), presumably bringing ethnicity and art to various American cities with an all-Filipino participation. Instead, the show itself is “color blind” towards race or people, projecting instead the versatility of artists who are predominantly, but not exclusively, Filipino.

Much to the credit of its curators, Julian Oteyza and Linda Pirrone (who are also exhibiting their art), the finale of this year’s travel exhibit arrived full circle in Virginia. The Exhibit can be viewed through the end of October at the University of Phoenix in Reston. The art space itself calls to mind the familiarity of common experience within a learning institution: hallways flanked by classrooms on one side where lectures are punctuated by soft discussions. Contrast these sounds of academe with the silence of art on walls, and one forms an image of framed works mentoring students on the cultural and historical roots of each artistic expression.

“Roots” towards the future

Brown Strokes’ common denominator is ROOTS: the root experience of artistic expression, its beginnings; an abundance of visual metaphors for nostalgic environs, triggers of epiphanies and hoarded childhood flashes. More than looking back, some artists herald their own awakening, thus a forward looking into the unknown, pushing this new and specific root to probe deeper into one’s sense of identity, cultural upheaval, struggles of the psyche, and always, in the confrontation of principles—the soul versus the corporate.

The show is distinguished by the inclusion of the painting “Purple Fancy” by one of the early pioneers of Philippine modern art: Victor Oteyza. In post-colonial Manila, Oteyza was one of 13 artists who decisively moved away from the influence of Western art to focus on the cultivation of Philippine expression. Victor Oteyza passed away some 20 years ago leaving behind a legacy of his art.

Happily, this exhibit opens itself to participants from all walks of life, blending established masters with emerging artists and precocious neophytes; providing equal space for students and professionals, hobbyists, photographers, sculptors and those who creatively improvise on a variety of media. Perhaps this eclectic mix is what brings ordinary people to marvel and be more than curious in viewing art. One is silent before the work of masters. But one is happily engaged in the works of individuals whose artistic attempts evoke a sense of the marvelous. One becomes convinced that artistic temperaments are honed in time.
Tenacity and Commitment: A Sign of the Emerging Artist

But it takes more than just time. It takes tenacity and commitment to cultivate whimsy and sustain visionary art. Notable for its whimsy was a wall of Remy Cabacungan’s cushions with titles to match the imaginative designs. She describes her work as “button vision” where buttons compete with the fabric design of cushions used as the canvas of expression. “The Color of Tears” (also titled “Mama’s Lullaby”) is a lilting row of fuchsia sequins that parallel white lace on embossed pink satin.“ Other titles were “The Garden I Never Tended” and “Papa Made the Violin Cry”. Remy Cabacungan is 97 years old.

Guests at the Meet The Artist event were introduced to improvisational art with opera. Satomi China Pirrone “performed” a calligraphic piece on canvas while singing an operatic aria. Her brush of choice: her own flowing hair gliding symmetrically over canvas.

Melissa Nolledo-Christoffels, a graphic artist and photographer from Oregon evoked in her digital art the blend of computerization and measured creativity, one of which was an intriguing “Woman Cradled”, a monochromatic piece that layered into a semblance of the sliced core of a fruit, but from its center emerged a concentric female figure. Christoffels’ pieces have the grain of antiquity so removed from its high-tech origins. Her art teeters from textured tension to surrealistic haunting with all that is graceful in between.

Photography in dervish motion found many a viewer faintly stupefied by Nikki Oteyza’s pieces titled simply as “Motion 1” through “Motion 4”. Theatrical choreography was recognizable in each piece, highlighting motion of colors and lines.

The violence in Philippine History was a stark reminder in the charcoal drawings of Frank Redondo, a professional illustrator from Alexandria, Virginia. Four scenes of execution (reminiscent of artworks for the drafting of postage stamps) detailed a hero and his martyrdom: Jose Rizal, the “Gomburza” Trio of priests in 18th century Philippines, the Sublime Paralytic, Mabini, and Jacinto the Brains of the Katipunan.

Brown Strokes on A White Canvas elicits pride and inspires a brimming confidence in its viewers. A deep appreciation for the collection of works is only the beginning. What the exhibit instills is the wonder of affirmation. It affirms one’s singular beginnings in a world that easily divests us of the pearl in our orient skies.

Participating Artists: Marvin Santos, Marielle Mariano, Charles Oteyza, Nikki Oteyza, Kevin Owens, Holly Adams, Linda Pirrone, Isabel Rocha, Virgilio Rollamas, Ulysses Duterte, Arron Odell, Victor Oteyza, Lauren Shealey, Mel Vera Cruz, Jon Melegrito, Melissa Nolledo-Christoffels, Presy Guevara, Nabil Makar, Satomi Cina Pirrone, Russell Anderson, Tanya Owens, Reme "Mima" Cabacungan, ErBu, Jerico Tugado Marzan, Joy Quintana, Sally Tsou, Frank Redondo, Julian Oteyza, Nilo Santiago, PAFC Children's Art Contest WinnersShow sponsored by PAFC and the Art League of Reston