"Art is life for artists. The struggle is hard but you need passion, love for your work, determination, and hard work," says Orlina. (Photo by CHARI VILLEGAS)

MANILA, Philippines — One can’t be faulted for being dazzled by a Ramon Orlina creation.

For one, his glass creations are certainly hard to miss, roundly praised for their ability to “reveal spaces within spaces in a breathless unfolding,” as so eloquently put by respected art historian and critic Alice Guillermo.

For another, you can find his sculptures everywhere. They are either displayed here in our country, for instance the altar of Greenbelt Chapel, in foreign lands such as at the Singapore Art Museum, or competing in prestigious art competitions around the world.

But one thing that the Students and Campuses Bulletin found out is that speaking with the creator of these amazing pieces is likely to produce the same dazzling effect. We found this sculptor of glass articulate and easy to talk to, ready to talk about his art, his family, and his Volkswagen Beetle limousines.

This loquaciousness is hard earned, a product of 35 years of establishing himself as the country’s authority in glass sculpture.

Fame and acclaim certainly didn’t come immediately. While Orlina’s “ARCANUM XIX” Paradise Gained – a three-ton sculpture originally installed at the Silahis International Hotel – was already making waves here in the country, it was his work in Singapore that would give him the big break.

Orlina would be commissioned to do “Wings of Victory” and “Fertile Cresecent” for two commercial establishments in Singapore, and would finally alert the local critics to the work Orlina was doing.

“I cannot blame them (local critics) because glass as a medium was not known then. Kung alam mo ‘yung medium, ‘yun ang isusulat mo. Nobody knew then how to write about glass,” he says of the initial lack of interest around his work.

The floodgates opened after Singapore. After “Wings of Victory” and “Fertile Crescent”, Orlina would go on to create more stunning pieces. He would create the “Dove of Peace”, the “Mudra Cross”, the tabernacle and dome for the Greenbelt Lagoon Chapel in 1983, and “Quintessence” for the Singapore Art Museum in 1995.

He would also participate in international competitions. He represented the Philippines at the XII Grand Prix Internationale d’Art Contemporain de Monte Carlo in 1977, and in 1992 was a finalist in three different art competitions: the Osaka Triennale, the Fifth International Exhibition of Glass in Kanaza, Japan; and at the New Glass Review 13 Competition of the Corning Museum of Glass in New York. The Toyamura International Sculpture Biennale in Japan and the II International Biennal of Basketball in the Fine Arts in Spain would also recognize his artistry, awarding him the “Mr. F Prize” and first place, respectively.

Orlina says that all of these accolades are a product of everything he has gone through on the way to the top.

“Art is also a struggle – with yourself and with everyone. Kung ma-overcome mo iyon, then you become an artist and you get your recognition,” he declares.

That constant struggle will reach yet another high point in the coming year, as the 66-year-old Orlina prepares to unveil the Quattromondial, an outdoor piece commissioned by the University of Santo Tomas for its 400th anniversary. But for the moment, Orlina is busy with the Olazo/Orlina exhibit at the Ayala Museum, running until the 28th of November.

In this 60 Minutes conversation, Ramon Orlina touches on many subjects – be it about the state of art and art appreciation in the country or the career prospects of aspiring artists – and displays the many facets of his artistic life, in much the same way that his glass sculptures reveal their complexity in the right light. (Ronald S. Lim)

STUDENTS AND CAMPUSES BULLETIN (SCB): You are very involved with the quadricentennial celebration of the University of Sto. Tomas…
RAMON G. ORLINA (RGO): Yes, in fact I have a show for UST as preparation for the 2011 anniversary celebration.

SCB: What sculpture will you be designing for UST for the celebration?
RGO: Ang concept is apat na tao, which will represent the 400 years. Kailangan lang hindi masyadong modern that it would contrast UST’s old structures.

SCB: How were you able to develop the concept for your distinct glass sculptures?
RGO: Mostly by trial and error. In 1997, I did a show in Seattle and they said “Oh, Mr. Orlina did something good.” Karamihan ng techniques sa glass ay blowing which is hot, ang technique ko is called the cold method. I use glass blocks, I cut and grind them, and from there, I develop something.

I received a scholarship to go abroad for two to three years. After the scholarship, I worked abroad in a glass factory so I could learn how to do glass. As an architect, alam ko ‘yung stained glass, tempered glass, pero hindi ko alam kung paano gumawa ng glass. So I underwent training, they gave me freedom to develop something. Glass is everywhere, sa Science, nasa microscope ang glass; sa telescope, glass; and everywhere there are mirrors. I was able to make it into a fine art, hindi lang basta decorative item.

SCB: Before getting involved with glass as medium, did you experiment with other mediums?
RGO: Nag painting ako kasi art is very competitive. I did not take up Fine Arts kasi mahirap eh and medyo practical ang Architecture kasi mas makakakuha ka ng trabaho, plus the stature.

SCB: When did you start combining glass with other materials like steel?
RGO: I started using steel in 2000 nung ginagawa ko ‘yung bahay ko. Fortunately, sinali ko ‘yung isa (Basketball Mi Mundo) sa Madrid, nanalo ng first prize. I learned a lot during that time. Kasi when you see the sculpture, you look at the glass, nagre-reflect ‘yung stainless steel, ‘pag tingin mo dun sa glass sphere parang basketball. ‘Yun ang maganda sa glass, it can reflect and absorb light.

SCB: Is green your favorite color? Your works are all green…
RGO: Tignan mo ‘yung mesa ko, clear di ba? Puti. Tignan mo ‘yung side? Green. Once kumapal siya, kapag naging ganun ‘yung thickness niya, nagiging green. Green is the iron content of the glass. It is its natural color.

SCB: Is glass a difficult medium to work with?
RGO: Ang mahirap gawin sa lahat ‘yung may shade ng red, stained glass, kasi timplado sila. Hindi ko masyadong alam kasi hindi ako ang nagma-manufacture. Sa akin dumadating lang na parang granite saka ko uukitin. Kaya minsan nagiging lighter ‘yung green or darker ‘yung green dahil sa paghahalo nung glass. Kasi ‘yung silica na galing ng Australia, less ang iron content. ‘Yung galing sa Palawan, mas green.

The big break
SCB: When was your first big break in the art world?
RGO: It was in 1985 when I was commissioned to do a glass wall in a building that started it, but it was really Singapore that  gave me the break. The time I did the altar in Greenbelt chapel, nobody wrote about it, I cannot blame them because glass as a medium was not known then. Kasi kapag hindi mo alam ang oil, hindi mo alam ang acrylic, hindi mo isusulat ‘yun. Kung alam mo ‘yung medium, ‘yun ang isusulat mo. Nobody knew then how to write about glass.

In 1983, I went to Czechoslovakia at nakita nila ‘yung artwork ko. Natuwa sila. Imagine hindi ko alam na meron pala akong na-contribute sa art. I was given a two-month study tour!

SCB: Singapore gave you the big break. Do you find that, oftentimes, Filipino artists are more appreciated by other races than by Filipinos themselves?
RGO: Siguro, kasi hindi lang naman sa visual arts. Tingnan ninyo si Charice, na discover sa YouTube ng Koreans, di ba? Si Freddie Aguilar, second place lang siya pero sumikat siya sa Germany and other countries. Sometimes, may politics at ‘pag napasukan ng politics, which is our favorite pastime, nakakasira na.

SCB: Do you think that’s unique to the Philippines, conflicts in the art world?
RGO: Meron din sa iba pero I know so much kasi nandito ako. Like may competition pala dito sa isang lugar, pero bakit hindi ako naimbita dito? Sa Singapore, nanalo ako nung ginawa ko ‘yung “Quintessence.” It was invitational and they invited me, samantalang dito sa Pilipinas, dito na ako nakatira, hindi ako nakasama eh. Biro mo Singapore naimbita ako eh dito katabi mo na ako, hindi mo pa ako nakikita. These are the things na unique sa atin. But fortunately, the artists are surviving (laughs).

SCB: Do you subscribe to the movement to push the arts to the masses?
RGO: Ang art hindi pang masa kasi para sa akin. Maganda ang art galleries kasi you don’t go to museums, you just go to a gallery and appreciate it. Art is life for artists, the struggle is hard but kailangan mo ng passion, the love for your work, determination, and hard work. These are the things that you need. You also need inspiration, kailangan meron ka namang inspiration pero kung puro ka naman inspiration, desperation ang mangyayari sa’yo (laughs).

SCB: Do we need another patroness of the arts like Imelda Marcos?
RGO: Imelda was one of the people who really helped. We really need the support of the government. Meron tayong National Center for Culture and the Arts, maganda iyon. Pero right now, kulang ang suporta ng gobyerno. Dumating si Cory Aquino, lahat ng ginagawa ni Imelda, ayaw niya! That’s the problem (laughs)! It has become more political. Sentimiyento. Hindi ako magsusuot ng butterfly sleeves dahil ‘yun ang ginagamit niya.

SCB: When you were starting, did you get any negative criticism?
RGO: Actually, ang number one criticism sa akin is that they don’t know of the show! Criticism ‘yun, di ba? Gumawa ako ng piece, may sumulat ba? Wala. Nakita ng isang taga-Australia at sinabi, “May laban ito, wala pang may gumagawa nito dito?” Paano nila maisusulat kung hindi nila naiintindihan ang ginagawa ko?

Nagpalabas ako sa Czechoslovakia, nung 1983 pa. ‘Yung number one artist doon was talking at hindi ko naiintindihan ang sinasabi niya, pero tinawag niya akong maestro. I was happy to be called a maestro by a real maestro. These are the things that make the down times nakakataba ng puso. It means meron kang nagawa at na-achieve. Buti na lang at hindi ako nagpunta sa abroad. Ang mangyayari sa akin doon, nag-glass blowing na lang ako. Wala akong naging maestro and now I have my own direction. Everybody has their own influence, but I try to make my art as much my own as I can. Kung mangongopya ka lang, bumili ka na lang ng magazine galing Belgium, i-drawing mo, wala namang makakaalam, di ba?

SCB: When nobody would notice your art, didn’t you think that you should just stick it out with architecture?
RGO: I had focus and determination. Kung ayaw mo sa akin, ok lang sa akin ‘yun. Una, binata pa ako noon. Ngayon, I have proven something na kakaiba. Hindi ako na-discourage. Nung painting ang ginagawa ko, 80 percent was sold on the first day.

Nung sculpture, out of the 25, four lang ang nabili! Kasi tinitingnan ng mga tao, iniisip siguro, ano ba itong ginagawa ni Orlina, magtatagal ba ito? Buti na lang may dealer na galing ng America, 12 ang binili! ‘Yun! Kaya bago siya umalis the next day para dalhin na ‘yung mga pieces, pinasok ko sa kuwarto ko ‘yung mga sculpture para katabi ko (laughs). Meron kang attachment, pero you have to let go.

Filipinos appreciating the Filipino artist
SCB: Why should young people pursue a career in the arts when you describe the situation in the country as being very dire?
RGO: Hindi naman lahat. Meron lang nabibigyan ng break sa labas. Papaano sumikat si Lea Salonga? Hindi ba nung pumunta siya abroad, hindi naman dito. Si Cecile Licad. If you notice, wala pa tayo talagang musician na katulad ni Yo Yo Ma. Marami tayong violinist pero kulang tayo ng exposure.

SCB: What makes the Filipino artist different from the rest?
RGO: A lot of our artwork is social-realist, kung ano ang nakikita mo sa labas, mga barong-barong. Maganda ang struggle nating mga Filipino dahil kung meron kang ganong klaseng situation, it helps develop the artist.

Tingnan mo ang Indonesian art and artists. Kung may real estate development sa Indonesia na maganda, nakikita din ng artist ang mga slums. Meron siyang contrast. These are the things that make us good, meron tayong contrast. Hindi tulad sa Brunei, na everything is given, nandiyan na ang bahay, wala silang struggle. That’s bad because art is also a struggle – with yourself and with everyone. Kung ma-overcome mo iyon, then you become an artist and you get your recognition.

SCB: Is there still a market for art here in the country? Or do Filipino artists have no choice but to go to outside markets to earn money from an art career?
RGO: Auction houses buy our pieces because they can spot what is good. A simple sculpture of mine could go for P100,000.

Ngayon, nung inauction sa Christie’s, hindi na ako ang may-ari. Sa auction, ang presyo ng art ay tumataas din. Kailangan may appraisal, kasi kapag ikaw lang ang nagsabi na ang sculpture na ito ay worth one million, walang bibili sa iyo niyan. Pero sa auction house, dalawa sila, maglalaban, tataas ang presyo.

SCB: But aren’t the buyers in auctions foreigners? Are there no Filipino buyers of art?
RGO: Sa mga auctions na ito sa Singapore at Hong Kong, ang mga bumibili ay mga Pilipino rin! That’s because we cannot get it from here! Minsan, nagdala sila ng Ang Kiukok sa Singapore, nag bidding dito. Pumalo ng hundreds of thousands! Pero sino ang bumili? Kaibigan ko! Wala kasing mabili! Dapat P400,000 lang pero may kumalaban kaya naging P600,000. Auction houses actually help in the promotion of the artists.

SCB: So there is still a culture of art appreciation in the country?
RGO: Meron! I tell you frankly, compared to Malaysia, Singapore, and Thailand, we are advanced in art. Let’s say, meron akong mayaman na kaibigan who invites me to have dinner. Dadalhin niya ako sa classiest restaurant. Pero kapag ako sa Pilipinas, if I want to treat him to dinner, dadalhin ko siya sa bahay ko. Maganda kasi ang bahay ko. Sa bahay ko meron akong Manansala at kung anu-ano pa. Kapag maganda ang bahay mo, hindi mo puwedeng lagyan ng kung anu-anong bagay lang. We have more taste compared to the other ASEAN nations.

If you look at Indonesian and Philippine art, they are in the same category, they are in the same line. Our countries have a history of art, hindi katulad ng Singapore at Malaysia, mga bago. Thailand naman, they are so engrossed in making buddhas.

Buddha, buddha, buddha, king, king, king. Ang trabaho natin mayroong international appeal. That’s important kasi sa auction houses, we are not the only ones on auction. Kalaban mo lahat ng countries.

SCB: Do you have an attachment to your sculptures?
RGO: Not all. My electric bill is R30,000 a month. Wala na akong magagawa kapag hindi ko binenta (laughs)!
But why keep it for yourself? Huwag kang madamot. Ipakita mo naman sa iba. Appreciate it and let other people appreciate it too. Kung pera lang ang habol ko, hindi ko na babantayan, sasabihin ko na lang sa mga kasama ko na tirahin na nila. Bahala na sila.

Tingnan niyo kung paano sila gumawa ng sculpture sa Thailand, every detail binabantayan, even to the smallest detail. Hands-on ako sa trabaho ko at ang maganda rin, dahil glass ang gamit ko, nakikita ko ang itsura sa bawat anggulo.

SCB: Is there a sculpture of yours that you consider a favorite?
RGO: Siguro ‘yung Greenbelt altar. Usually I keep one piece from every show, may collection ako na nanggagaling sa mga show, but I’m not saying na lahat ng gawa ko gusto ko. Meron akong gawa na hindi ko gusto.

SCB: Anong nangyayari, binabasag niyo? (laughs)
RGO: Nag-paint ako nung una, geometric ang dating ko. Kaya naglaro ako, parang gumamela na siya, parang flower. Pero hindi ko nagustuhan. Sinama ko sa show ko and it was the one that made people go “This is so beautiful!” Pero ako, ayoko! Gusto ng iba. Kaya kahit mas gusto ko ang ibang gawa ko, hindi ibig sabihin itatapon ko ‘yung iba (laughs). Sometimes, gumagawa ako, I’m cutting, titigil ako at titingnan ko ‘yung trabaho ko. Because once I cut it, wala na akong magagawa.

SCB: Is there a sculpture by other artists that you consider your favorite?
RGO: Gusto ko ang mga trabaho ni Abueva. Kasi maski nung bata ako, isasama ako ng mommy ko sa MET theater, ang building was designed by Juan Nakpil. But during that time, I never noticed the building. Nakita ko ‘yung ginawa ni Abueva dun na parang theater, smiling, crying. It attracted me more than the building. So ang focus ko pala is more on the visual arts, not on the building na maganda. I was seven or eight years old. From the beginning, meron na akong inclination to the arts. ‘Yun nga lang, you have to develop it. Nag-aral ka. Pero nasa blood din. ‘Yung great grandfather ko, one of my uncles is Jim Fernandez, ‘yung gumawa ng Zuma. Siguro nga meron akong nakuhang lahi.

SCB: Didn’t you think of reaching out to the young by teaching?
RGO: Una kasi, itong trabaho ko, mahirap ituro. Dapat dito pumunta ka sa akin, tumigil ka sa akin ng one or two months.

Pero hindi ko maituturo sa’yo ‘yung porma ng gagawin ko. Siguro ‘yung technique, pero ‘yung kasing lumalabas sa akin ay ‘yung nararamdaman ko na hindi mo naman puwedeng ituro. Naka-input na kasi sa isip at damdamin mo. These are the things that you get as you grow up.

‘Yung sculpture ni Abueva, tinitignan ko, hanggang ngayon naaalala ko. These are the things that you acquire through the years. Whatever ‘yung lumalabas sa’yo ngayon is an accumulation.

SCB: What about your apprentices. How do you tap them?
RGO: Mga high school graduate sila. ‘Yung mga assistant ko, sculptors din. Talagang mag-uukit siya sa Baguio. Magaling. Halos lahat dito, I trained them.

Of iPads, Beetles, and Music!
SCB: Are your kids into art also ?
RGO: Late ako nag-asawa, at 40. I enjoyed my life. Graduate na ‘yung daughter ko, magna cum laude sa UP. Mana siguro sa nanay niya (laughs). She took up Business Administration. ‘Yung isa took up Business Administration and Accountancy but  got bored after two years and shifted to Civil Engineering. Magagaling sa mathematics itong mga anak ko. ‘Yung third ang nasa St. Benilde, kumukuha ng Multimedia Arts. ‘Yun ang medyo artistic sa tatlong babae. I don’t know ‘yung lalaki. Lahat kami artistic. ‘Yung una ko Architecture.

SCB: Have they always understood who you are and what you do?
RGO: They know na iba ang trabaho ng tatay nila, nandito ako sa bahay palagi (laughs).

SCB: Are you into gadgets? We notice that you have an iPad.
RGO: Mahilig din ako, kahit sa Facebook (laughs). Pagdating sa gabi, wala akong magawa, I also like to communicate. I always go abroad, madaling bitbitin, nag Facebook ako sa iPad. Ngayon kung gusto mong manood ng sine sa eroplano para hindi ka ma-bore, manood ka ng Seinfeld. Marunong din ako mag Photoshop. Pero hindi gaya ng mga anak ko, ang gagaling.

Minsan kapag nagpapaturo nagmumukha akong gago (laughs). Dad like this (laughs). Siyempre hindi na ako makakahabol sa generation ngayon.

SCB: We noticed you have a Beetle limousine outside your house…
RGO: Ito ipapakita ko na lang sa’yo. (turns on iPad) ‘Yung unang ginawa ko, may nag rent para sa kasal. So sabi ko sa misis ko, gawa pa tayo ng isa. Eto na ‘yung ginawa ko, itim, may TV, may ref, sosyal di ba. Nanalo pa ako ng award sa car show.

Ngayon may ginagawa ako na ordinary Beetle, dalawa, kaya lang hindi ko maasikaso kasi ‘yung dashboard will be done by Ed Castrillo, ‘yung buong body will be painted by Ben Cabrera (laughs). Oh di ba?

SCB: Why this fascination with the Volkswagen Beetle?
RGO: Kasi ‘yung una kong kotse Beetle. Madaling gawing limousine ‘yung Beetle kasi ‘yung makina nasa likod. Up to now marami pang natakbong Beetle. Maganda ‘yung pagka-classic niya. I even earn money. (laughs) Nung nanalo ako sa show nung una, may nagtanong agad if they could rent it for their wedding. Pina-renta ko na. Sabi ko sa misis ko, gawa pa tayo ng isa para kapag nasira ‘yung isa, meron pa akong pang-palit.

I also like photography. Nagpunta kami ng misis ko sa Eastern Mediterranean cruise. I have a Leica camera, ‘yung maliit. Sa ship, nagka-competition dun, ang mananalo idi-display ‘yung photo. Nanalo ako!

SCB: What do you do outside of work? Do you do anything not involving art?
RGO: I produced a play, www.caysasay.com. I was able to get Ogie Alcasid, music by Ryan Cayabyab. I like music. I play the piano.

SCB: Who’s your favorite musician?
RGO: Marami because during the time na tumutugtog ako ng piano was the time of Burt Bacharach (laughs). Mga luma, Beatles. Actually nag-aral ako ng piano, pero siyempre nung bata ka puro Beethoven. Marami akong hobby kaya sometimes, nangangarap na lang ako minsan kung anong gagawin ko than concentrating on something. Nasisira ang concentration ko.

SCB: What were the most important things you contributed when you were the president of the Art Association of the Philippines?
RGO: I was the one who introduced the artists to the Christie’s people and also Sotheby’s. There were a lot of things I did during the time I was president, palubog na nga ang AAP noon umangat nang naging president ako. I also brought the works of artists to different countries like Singapore that started buying collections of AAP, more exposure talaga.

The problem with Filipinos, sa competition kapag may nanalo, next year, maraming gagawa kung ano ‘yung nanalo or something like that. May problema sometimes like ‘yung sa PLDT directory, tignan mo halos pare-pareho kasi taun-taon ‘yun ang sina-submit. Pero it’s a good thing na marami nang competition ngayon like ‘yung Metrobank, Shell pero kahit na mataas ‘yung prizes sa mga competitions na ‘to mas gusto pa rin nila ‘yung sa AAP kahit R30,000 lang but you will be in the league of winners like some of the the National Artists who came from AAP. Hindi naman sa nagbubuhat ng bangko, but I was able to convince other people that there is still importance in the competition.

SCB: How has your art changed through the years?
RGO: Ang artist, para sa akin, should develop. Hindi ka puwede tumigil sa isang ginagawa. Hanggang sa matapos ‘yan lang ang ginagawa mo. Ang trabaho ko, kung makikita mo may variety. Eto ibang series, eto may series na breasts, Ningning.

Akala nila asawa ko si Ningning but Ningning is my daughter who was breastfed for two years. Sa constant exposure ko, suddenly makikita ko ang mga ginagawa ko puro Ningning na lang. Sa kakatingin ko ng breasts, ang nagawa ko puro breasts.

So iba-ibang series. Kung anong maiisip ko. Kaya sometimes kapag may nagpapa-commission sa akin hindi ko nagagawa agad. For example, nagapapagawa ng Ningning. Tinatamad akong gumawa ng Ningning, gagawin ko kung ano ang gusto ko.