Bernardo Maac | Fredito Pelipada Exhibit

Back to Back Exhibit
Oct 01- 8 , 2017
Shangri-la Plaza mall Mandaluyong City

Worlds collide in Maac’s most recent artistic endeavor, of polar opposites so extreme it is almost hard to think both stood on the same scale. Maac’s exploration into the human form started when he was a Fine Arts student, where in classes covering human anatomy he learned the finer nuances and intricacies of the body, and in it, he found himself more and more open in painting them. He expanded on the idea by creating a multiplicity of bodies, merging one with the whole. The Clothed His art is an exercise in realism, or at least, a version of reality in his mind. Maac experimented with the forms of the Filipina; he would use distinguishing facial cues to mark the regional origins of his work, to make it distinctly Asian. Here, he explores the traditional and conventional aspects of themes of Tres Marias, Mother and Child, Harvest, in the style befitting artistic icons like Tam Austria and Oscar Salita. The Naked The unrestraint, unashamed, and unabashed portrayal of hedonism found in his series of multi-sexual paintings, of bodies twisted in ecstasy, forms collapsing in, on, and around each other. Looking at his works, one would wonder where one begins and the other ends in this massive writhing form, artfully executed in bold, hyper-vivid colors. The Bound and The Free It would seem that Maac’s works do not subscribe to any form of artistic prescription, as interpretation may very well vary to any individual looking through the opposite ends of his artistic spectrum. Nevertheless, it is a journey that unravels and pushes the boundaries of his artistic expression, one that need not be bound by expectation nor by convention.

At The Edge of the Canvas: FREDITO PELIPADA

“I learned to paint only when I was about 36 years old.” There is no hint of false bravura nor preening self-aggrandizement; it is merely a statement of fact. Pelipada considers himself an old novice, unnassuming, simple in his manner of creative and artistic expression. Despite having no prior training nor formal education in art, Pelipada made up for it with his boundless enthusiasm and passion. Growing up, he had been exposed to art, if only from an observer’s perspective; his uncle ran a framing business. He would eventually open one himself, and there he was able to gaze and study masterpieces from the likes of Ang Kiukok. The surreal nature and subject of his works naturally resonated with the young impressionable Pelipada, and it was how he imagined his craft would be like. The Observer in the Sidelines His friends would bring him to on-the-spot painting sessions, art shows, workshops, and lectures. To him, the experience was akin to attending art school. He had been an observer in an artist interaction, and was surprised to find that they left a spot for him, at the edge of the canvas. Through the encouragement of artist peers, he picked up a brush and started the first tentative strokes that would ultimately launch the rest of his career as an artist. The Artist in the Spotlight Pelipada soared in his own way, despite him feeling he did not have a knack for drawing. But sold paintings, exhibitiions, and honorable mentions in art competitions speak otherwise. His style, formally called Naïve Art, is considered an outsider art; but what shines through is his open simplicity and frankness laid bare on the canvas. And from the edge, he moves steadily forward and towards the center. Pelipada is no longer an observer, but very much an active participant, holding his own at the center of the spotlight.


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