NATIONAL ARTIST FOR SCULPTURE
Napoleon V. Abueva
(Image by Rosscapili) The entire country, most especially the art industry, mourns the recent passing of the National Artist for Visual Arts Napoleon Abueva. Contemporary Filipino artists share the lessons they’ve learned from the Father of Modern Philippine Sculpture. Let us remember Tito Billy, a mentor, a dean, a friend, an inspiration. Aside from the monuments, Napoleon Abueva is known for his presence to art events, his undying support to all artists, and his passion to teach and mentor students. My fondest memories of Sir Billy is when he became my professor when I took my Master’s degree in UP in 2006. It’s a privilege to learn under a National Artist. He was such a warm and inspiring person, he was 76 then. I am a professor now, and I will continue to teach and mentor just like Sir Billy. —Vincent Padilla Tito Billy Abueva opened the eyes and minds of people to how fascinating and dynamic 3D art is at a time when Filipinos’ acceptance of art was limited only to paintings. He also widened the scope of subject of sculptures to go beyond heroes. And he showed artists like me that it is all right to be playful, even naughty, with our art. —Ferdinand Cacnio My fondest memory of Abueva was in 2001, in his studio, when I was  shooting his portrait for Pilipinas Shell Print Ad. He welcomed me to his abode with a handshake as hard as rock, typical of a sculptor’s hand. But as I shot and chatted with him, I saw his calmness and soft spirit. I encountered him again at the College of St. Benilde sometime in 2008 during my short stint as a professor. What amazed me was his humility and willingness to share his skill, talent, and glory of being a National Artist in Sculpture. Napoleon Abueva is one of the few National Artists in visual art who possesses that kind of heart despite his stature in the industry. —Ross Capili I first met sir Abueva when my mother took sculpture classes in UP as a teacher-scholar of Shell in the ‘60s. She would bring me with her in class, I was in grade five at that time. And I was mesmerized by this man (Abueva), who would masterfully play with clay and create images, this gave me an impression that art is synonymous to playing. Then I, too, played with clay and mimicked what he did. Sir Abueva would also teach me, like he taught my mom. He is one of my greatest inspirations, which led me to continue in doing art. —Egai Fernandez My fondest memory of Dean Napoleon Abueva would no doubt be the experience of writing his coffeetable book. I am both humbled and honored that he chose me to write it. Though he had already been felled by a stroke, he made an effort to talk about his life and work. The name Napoleon Abueva will always be synonymous with modern Philippine sculpture. Abueva made us realize that sculpture is more than just concrete statues of national heroes but a solid medium for the expression of every human emotion and the spirit of the modern age. —Cid Reyes I first met Prof. Abueva when I was a student in 1976. I was impressed with his easy open demeanor, one that was warm and welcoming. He would give even us stranger students a firm, really firm handshake and always smile at us at events or functions, even when life was not as “social” then as it is now. What I remember best of him is the way he spearheaded a modernist form, which allowed us to explore new approaches to sculpture. I definitely feel influenced by his Allegorical Harpoon (even if to this day I do not know why it is titled so) and his Rose Gun. I still marvel at his pointed bus stop terminals in UP and his entrance monoliths at the entrance of UP University Avenue in Diliman. I feel also lucky because I heard later that at the AAP contest of 1980, where I won a grand prize for sculpture, he was one of the judges who ruled in my favor. In art, all of this is subjective and this does not necessarily mean I was that good, but it definitely boosted my confidence that someone of his achievements (by this time he was already National artist) might find merit in what I was doing. Somewhere along this long path where his positive input pushed me forward, I somehow ended up being the next artist to represent the Philiippines at the Venice Bienniale (2015) after Abueva did (1964). That has got to count for a positive connection.—Jose Tence Ruiz The first time I met Dean Abueva was in the mid ‘90s, when I visited his studio-residence in QC. A firm bit heavy grasp of his hand wrapped my hand when he shook hand with me. I thought maybe that was really the kind of energy one can feel from an experienced wood sculptor. Years after that, I saw him at UP Fine Arts studio doing his wood sculpture, I was teaching sculpture then.  Regarded as the youngest sculptor bestowed with the National Artist Award, he created landmarks that amplifies Filipinos’ shared beliefs in its wider context through modern forms. His significant body of works went beyond the individual work of art but extends to capture a culture’s aesthetic and self-understanding more broadly. —Noell EL Farol