Thursday, December 8, 2016

Pinggot Zulueta and Demosthenes Campos
Aligned 2: Imperfect Balance, Abstractions and Assemblaages
Opening Reception – 8 November 2016, Tuesday, 6PM
Exhibition runs until November 21, 2016

Kaida Contemporary presents Aligned 2: Imperfect Balance, Abstractions and Assemblages by Pinggot Zulueta and Demosthenes Campos at the ArtistSpace of the Ayala Museum this November.

With mixed media works and assemblages using old discarded wood, textured fabric, carpet, string, wire cables and a miscellany of found objects, Zulueta and Campos explore themes of attachments, junctures, growth and expansion, with abstractions that rework images of mundane objects, reshaping them for visual expressions brought about by personal association and significance.

As Zulueta draws from his recent experiences abroad and the memories triggered by going back to his childhood home, he seemingly recreates parts of a new sanctuary made easier for relocation. With sand, cement, scrap wood moldings, and even junked items such as an old violin and discarded bamboo cover for a fishing basket, he fashions snippets of a past life, transforming function and meaning. Campos, meanwhile, uses acid-bathed metal cuttings, juxtaposing them with fibers secured with tin, textured panels, grassy carpets, and blooms of wire that evince hope blossoming and persistent growth overcoming odds amidst today's harsh social and political climate.

Aligned 2: Imperfect Balance, Abstractions and Assemblages will launch art the ArtistSpace on the 8th of November, Tuesday, at six o'clock in the evening. The pieces will be on show until November 21, 2016. For more information on the exhibition, please contact Kaida Contemporary at +639279297129 or email
ArtistSpace is at the Ground Level, Ayala Museum Annex, Makati Avenue corner De La Rosa Street, Greenbelt Park, Makati City. For more information on the ArtistSpace, please contact Lorraine Datuin, gallery coordinator at (02) 759-8288 or email

Wednesday, March 2, 2016

“Thinking is preeminently an art; knowledge and proportions which are the products of thinking, are works of art” (John Dewey, 1929)

Human beings are consciousness in motion. We are essentially embodied beings defined by the layers of memories, emotions, imagined fears and sensory pleasures that we believe make up our existence. Imprisoned by our wild thoughts, we are left with the intelligence to both perceive and create beauty as well anticipate and recognize the grotesque. It is this very duality that Pinggot Zulueta has chosen to explore in his latest works.

Pinggot Zulueta will be showcasing a series of portraits on paper and canvas, in "INCEPTO: Ink Drawings" on March 10-24, 2016 at the Art Cube Gallery, Glorietta Makati.  The title is Latin in origin, which means to “begin, undertake or attempt.” It serves as a fitting moniker to signal the audiences’ entry into the thoughts residing deep within the artist’s soul.

In what can be considered his most personal collection to date, Pinggot Zulueta unveils raw visual products shaped by the innermost workings of his mind. As a widely prolific visual artist, his latest collection offers a peek into his intimate musings on the internal struggles of man.

Showcasing manic ink figures in jet black, the subject of the pieces conforms to and are characterized by the artists own emotional struggles and pains. Zulueta chooses to delve into the most haunting aspects of the human psyche scrutinizing his own personal challenges as part of his philosophical contemplations. Serving as an autobiographical account, the collection is rooted in the period of depression and loneliness the artist experienced during his solitary days.

Gleaned from the visual ideas that emerged in his dreams during these times, a slew of revelations came upon the artist who embraced these figures from his subconscious and launched it into the temporal world. The result are images that speak of the primal and internal fears that plague all of mankind, with his contemplations on the universal derelict state of existence imbibing the works with a powerful energy and a strong impact.

More than a visual catharsis, Zulueta gives a voice to the anxiety experienced by many people in the shadows. Yet through these very figures, Zulueta offers a hope for redemption as it also serves as a celebration of people’s capacity to transcend these thoughts as he himself had done by asserting his passion for his artwork. It is an ode to human sensibility, for all the faults it may present, and the infinite potential that lies within.

In the end these figures do not represent the demons of man, but rather man’s ability to stand in the face of it with a battlecry, “Incepto ne desistam” (May I not shrink from my purpose!)“We are artists of our own lives, and however we make of it will determine the kind of masterpiece that we are working on.”- Pinggot Zulueta

INCEPTO: Ink Drawings" will be on display from March 10-24, 2016 at the Art Cube Gallery, Glorietta Makati

Wednesday, December 16, 2015

Artists and their ateliers featured in book

By Amierielle Anne A. Bulan and Ma.Czarina A. Fernandez

A NEW coffee-table book on Philippine art by former Varsitarian artist and photographer documents through beautiful photography and informative text the ateliers or work studios of 75 of the country’s foremost artists, what critics have described as a very helpful “archival” project to record the creative process that goes into masterpieces of the visual arts.

“Filipino Artists in their Studios” is published by the Manila Bulletin and conceptualized and photographed by visual artist-photojournalist Jose Vinluan “Pinggot” Zulueta, a BS Fine Arts in Advertising Arts graduate of the old UST College of Architecture and Fine Arts.

“Our goal is to give a glimpse of the artists’ lives, not just a usual profile presentation of them with their artworks,” Zulueta told the Varsitarian during the book launch last Oct. 30 at the Fiesta Pavilion of the Manila Hotel.

The 324-page book is not only a compilation of photographs by Zulueta that originally appeared in the C’est La Vie or lifestyle section of the Bulletin. It is also accompanied by insightful texts and captions written by writers and journalists such as Paul Zafaralla, Barbara Dacanay, Dennis Ladaw, and Isabel de Leon.

“Usually, the audience see just the artwork alone, mounted or framed in an exhibit,” said CJ Tañedo, one of the artists featured in the book. “But once they get to see the studio, they can see the artists in a new light, and they can see his work habits and the natural setting in which he works.”

Tañedo, a winner of the Metrobank art awards back in the late 1990’s, himself is a Thomasian.
De Leon, a News staffer of the Varsitarian during her student days and now the news editor of the Bulletin and a former Malacanang assistant press secretary, compared an artist’s studio to a bedroom which is “not accessible to anyone.”

“We were very humbled when they allowed us to enter their spaces,” De Leon said. “Not everyone can be granted the opportunity to enter an artist’s sacred space.”

Art enthusiasts like Silvana Diaz, who owns Galleria Duemila, the country’s longest running gallery, said the book gives new perspective on Philippine art.

“He [Zulueta] brings the client and the public who are not well versed in art into an intimacy and place where they see the artist in their environment. When you don’t have art education or study art history, you may penetrate into their intimate life this way,” Diaz said.

25 alumni artists
Among the 75 artists featured in the book, 25 are notable Thomasian alumni mostly products of the old College of Architecture and Design. Sculptor Ramon Orlina, National Artist for Visual Arts Arturo Luz, the late abstractionist Romulo Olazo and father of Philippine conceptual art Roberto Chabet are featured along with Antonio Austria, Manuel Baldemor, Gabriel Barredo, Andres Barrioquinto, Salvador Ching, Fil Delacruz, Danny Dalena, Mideo Cruz, Igan D’Bayan, Edgar Doctor, Alfredo Esquillo Jr., Raul Isidro, Prudencio Lamarroza, Julie Lluch, Sofronio Y Mendoza, Mario Parial, Mario de Rivera, Jose Tence Ruiz, CJ Tanedo, Ronald Ventura, and Juvenal Sansó.

Ruiz, who was part of the creative team behind the Philippine Pavilion in this year’s Venice Biennale, recalled the time when the book was still an idea.

“Why don’t I make a more active documentation of what’s happening in our art scene?” was the question asked by Zulueta to Ruiz back in 2008.

According to Ruiz, Zulueta was given the go-signal by the Manila Bulletin to start the project, and from there started a weekly feature in the newspaper that puts the spotlight on a local artist and his or her works.

“He would bring a young writer, and he himself was the photographer. Little did we all realize that that would be a book seven years later. It was all a happy accident,” Ruiz said in an interview.

The book has long been awaited by artists and art enthusiasts. Isidro, an abstractionist and a former fine arts dean of the Philippine Women’s University, said that the publication was “overwhelming.”

“Although there were books published before, this is different as it takes on a personal and intimate relationship with the artist,” Isidro said.

Meanwhile, veteran watercolorist Edgar Doctor said that this book is a breakthrough in the Philippine art scene because it gives recognition to local artists.

“It’s always the art more than the artist, and now the Filipino artist is given recognition,” Doctor said.
“Filipino Artists in their Studios” is available in leading bookstores nationwide.

The Varsitarian I 11/27/2015 I 7:23


Thursday, December 10, 2015

More Thomasians featured in 'Papelismo'
By Ma. Czarina A. Fernandez

THE PAPER as a premier medium in Philippine art was the focal point of Papelismo 6, a group exhibit at the Nova Gallery, Makati City.

Thomasians Thomas Daquioag, Pinggot Zulueta, Benjie Cabrera and Melvin Culaba were among a dozen artists who explored the creative possibilities of paper as an art medium.

Daquioag, a Painting alumnus of UST, shows social realism in “The Heir” and “The Heir 2,” which portray a child on the floor and a woman sitting on a couch.

His other featured work, a watercolor on arches or air-dried paper titled “ABAKADA Series” features a family making their way through a flood.

“Working on paper as compared to other mediums presents a more difficult challenge,” Daquioag said. “Paper requires a degree of perfection that you don’t necessarily employ in other mediums.”
Meanwhile, Pinggot Zulueta’s black-on-white-ink-on-paper works, reflect his life as an illustrator and newspaper cartoonist back in the 1980s.

Zulueta’s “Talking to Basquiat,” “Knowing Francis Bacon” and “Dialogue with George Condo” are explorations of faces and portraits using the forms and shapes of artists like Picasso and Condo.

“I borrowed art styles from renowned artists and incorporated them with my own style,” Zulueta said. “It’s like a conversation of art between my style and the style of others.”

Zulueta also expressed his preference for paper as a medium since he is known for sketches and illustrations.
“With paper,” he said, “art is boundless. You can sketch, cut, fold, or literally do anything that doesn’t limit your art.”

Meanwhile, engraving artist Cabrera’s works titled “Unexpected Visitor,” “Garden Delight” and “Erratic Self-Reflection” deal with themes of creation, preservation and destruction.

“My works in this edition of Papelismo tell the story of evolution where spectators can see the process of life growing and decaying,” Cabrera said.

Despite using engraving in most of his works, Cabrera does not mind using other mediums such as paper, which to him is special if not superior to other mediums.
Culaba’s charcoal-on-paper works delve on religious themes. “Patakam sa kung ano ang kinain… bago kumain” depicts the Crucifix mounted on a wall, among various framed religious icons like the Virgin Mary holding the Infant Jesus.

Culaba’s “Patatawarin po” shows a capped face, resembling the figure of Martin Luther, leader of the Protestant reformation, flanked by a horde of demon-like creatures in the background, in what seems chaos and hellfire.
Renato Habulan, the exhibit curator, told the Varsitarian that he wants to change the mindset of people who think of paper as a second-class artwork.

“We want to challenge the market, that paper is as durable as canvas,” Habulan said.

Ali Alejandro, director of Nova gallery and also a practicing artist, emphasized how paper is a staple in the art scene and how it will always hold a purpose despite arising forms of new mediums.

“Working on paper is a one-act job which requires perfection because committing one mistake will mean you have to start all over again,” Alejandro said.

The group has expanded to 12 artists for this year’s show from the initial five in their 2012 exhibit originally titled PapelMismo.

Posted on 11/27/2015 - 07:18 The Varsitarian

Thursday, October 30, 2014

Convergence II, mixed media, 2014

Fixation at KAIDA Contemporary

Fixation gathers works that evoke the obsession of featured artists Demosthenes Campos, Noell El Farol, Jethro Jocson, Jemina Reyes and Pinggot Zulueta to express their concepts, sensibilities and life principles through abstract painting. Colors, forms and lines are interpreted in myriad renditions, visually enticing the audience to explore the depths of artistic expression.

In Noell El Farol’s Stratigraphy series, he explores the recovery process in archaeological practice in retrieving artifacts with a painstaking process involving wet sieving and flotation. El Farol manually produces handmade paper from juice and milk packages and collected papers from studio works, then marks them with natural pigments. As such, the output may be considered as field notes with its own set of recovered, then reconstructed, footprints.

Jethro Jocson, on the other hand, continues to delve into his scrutiny of value and worth as he questions "If matter is anything that occupies space and has weight, what matters most?" in Perseverance and Compatibility with process colors carefully swathed on stark white canvas.

In Demosthenes Campos’ Detached, he halves his plane of textured and unbleached Titanium White with a floating patch rendered in different colors.

Jemina Reyes, meanwhile, in Beyond, fixates on the spiritual. She closes off the center of her painting with a light border suggesting that the physical world is bound by limits, yet there are things beyond the human plane of awareness.

Pinggot Zulueta introduces a network of thin lines forming a multi-planed enclosure that seemingly captures blocked off shapes and dashes in Convergence 11, and utilizes slashes and stripes that give a visual rendering of beats and free rhythms in Straight Line from the Heart.  

Whether inspired by processes used in archaeology, valuing worth in matter, minimalist detachment, longing for the beyond, or simply celebrating bursts of lively colors and musicality in form, the paintings are exposed to one's personal signification -- interpretation fully depending on the viewers, their compulsions and inclinations, what they hold fast and what they are willing to let go of.

Fixation will be on show until November 12, 2014. Kaida Contemporary is located at 45 Scout Madriñan St., South Triangle, Quezon City. For inquiries, please contact +637090289 or +639279297129, and email

Art in Migration

with former Malaysian Prime Minister Mahathir Mohamad at the Langkawi Art Bienalle 2014.

Visual artist and photographer Pinggot Zulueta along with other renowned and up-and-coming Filipino artist come together to represent the Philippines at the Langkawi Art Biennale 2014 (LAB 2014) that opened yesterday and will run until Oct. 21 at the Langkawi Lagoon Resort in Pulau Langkawi, Kedah.

The first Malaysian Art Biennale, LAB 2014 was organized by the ArtMalaysia Association, supported by the Ministry of Tourism and Culture Malaysia to see out possibilities for expression in contemporary art within the context of Langkawi by showcasing the work of local Malaysian artists and international artists from over 40 countries. It is Malaysia’s first distinguished platform for international dialogue in fine and contemporary art. LAB2014 aspires to offer new exposure for artists, art associations, and businesses, at the same time infusing deeper public engagement with the arts.

With the theme “Migration,” Zulueta, together with Darby Alcoseba, Frank Caña, Rosscapili, Joel Cristobal, Buds Convocar, John Dinglasa, Joel E. Ferraris, Merlito Gepte, Rick Hernandez, Rem San Pedro, Celso Pepito, Fe Madrid Pepito, Simkin de Pio, Jik Villanueva, and Sonia Yrastorza, each came up with three art pieces that reflect cultures that meld together in a constant state of influx. The theme is also symbolic of artists coming together to a new destination that offers nature, beauty, and inspiration.

Among the activities lined up for the 10-day biennale are Peletakan Orang-orang (Interactive Installation of Scarecrows), Gotong-royong Angkat Rumah (an old Malaysian custom where villagers gather to help some move his house, similar, albeit purely literal, to the Filipino concept bayanihan), and the Malaysian and Chinese exhibition “Friendship is Forever.” —JACKY LYNNE A. OIGA