DRAFT: Elmer Borlongan

Once an artist, always an artist. Filipino painter and CCP Thirteen Artists awardee, Elmer Borlongan, found love in art, which eventually unfolded into a lifelong affair.

Probably his most treasured influence, his Chemist father had shaped the way he thinks, the manner in which he sees objects, and his ultimate expression of his thoughts and views. At an early age, his father constantly asked him to draw the same object in different versions using, for instance, a top-view perspective, a back-view, and some from the side of the subject. This trained him perceive things in varying lights and angles, and with much substance than what instantly meets the eye. “Kaya naging three dimensional ang tingin ko sa objects at hindi flat” [That’s why I see objects in three dimensional spaces, not flat] he said.

In 1978 at age 11, his budding artistic prowess led his aunt to introduce him to the Father of Philippine Art Workshops, Fernando Sena, who was then conducting Saturday art workshops at the Children's Museum and Library Inc. (CMLI). Borlongan was enrolled at CMLI during his entire high school life, and assumed the role of the assistant to Sena. Together with his mentor, he participated in outreach workshops in Tondo, Sapang Palay, Antipolo and San Juan.

Having practiced drawing and painting earlier on, Borlongan learned how to incorporate structure in his works,as well as the technical aspects of visual art through Sena’s teachings on the proper navigation and use of the pencil, pen and ink, pastel, watercolor, oil, and other media. In learning the tools extensively, he was honed in painting still-life, landscapes, portraits, illustrating various kinds of animals, and figurative drawing. Beyond the two-dimensional picture, Sena educated Borlongan of three things that could enhance a flat drawing: light, shadow, and composition. “Very academic ang training”, Borlongan said.

He recalls that the trainings of Sena were partial to impressionist paintings, but he was more inclined to painting figurative works. “Challenging kasi ang magpakita ng expression ng figures sa pamamagitan ng action at body movements.”

Just like any young and eager artist, he took the challenge of drafting figurative paintings by learning from those who have already proven their expertise. He attempted to recreate works and redo techniques of established and accomplished artists, both local and foreign such as the technique of National Artist Carlos “Botong” Francisco. He also carefully studied human anatomy through the paintings of Michaelangelo, and the chiaroscuro of Rembrandt.

Borlongan soon realized that, after copying these works, it is harder to find and create your own identity by replicating other artists’ styles. In search for the unique identity of his art, he resorted to painting the realities of his most immediate environment in Mandaluyong. “Sa umpisa, naghahanap lang ako ng audience na makakaintindi ng paintings ko. Masaya na ako noon na may nakakaalala ng past works ko kahit hindi nila mabili.”

With an unselfish frame of mind, Borlongan notes that acquiring knowledge on basic art is important so that it is easier to teach and pass it on to others who might be interested in becoming an artist.

Upon stepping into the University of the Philippines (UP) Fine Arts, Borlongan fondly remembers Nestor Olarte Vinluan, an art and literature enthusiast, who told him that good art, is not just based on the techniques of the hand, but also on the expression and the concept of the piece, which deserves nothing less than equal importance. Borlongan and Vinluan often conversed about literary pieces, which had been the root of inspiration for several of the former’s paintings.

Among the great Filipino painters, Borlongan particularly admires Danny Dalena at Onib Olmedo for the strength of their works and their utmost bravery for standing up for what they believe should be painted and revealed to the world.

No sooner did Borlongan find a group of artists, called Salingpusa, to complement and develop his identity as a young artist in UP. With a relentless appetite for discovering deeper meanings of just about anything to their very core, Salingpusa often journeyed to Antipolo to engage in reflections and discussions about art and life in general. Influenced by Dr. Joven Cuanang, the group’s members were instilled with discipline and the drive to continuously produce and improve in their art.

Because of the relentless culture to excel of Salingpusa artists, and the accumulation of works that consistently progress to an improvement from the last, Boston Gallery in Cubao was created to cater to the group’s need to exhibit and impart their works to the public.

Borlongan is confident in saying that what he learned from Salingpusa manifests in all of his works. “Napag-isipan ng mabuti ang bawat painting. Kaya din one-at-a-time lang ako gumawa” he said. Salingpusa members were his influences in venturing into figurative painting. The expressionist approach of each member in painting human figures from memory alone communicates the reflection of personal experiences, as well as a third-person view of urban life. “May soul ang bawat gawa ng members.” Borlongan adds.

Manny Garibay, a prominent Filipino artist, invited Borlongan to join another group called Artista ng Bayan (ABAY). From the built foundations of Salingpusa, Borlongan was further exposed to the realities of life and the injustice that spread throughout the dictatorship of the late President Ferdinand Marcos. With an enlightened frame of mind, he became an activist and contributed to several Non-Government Organizations (NGOs) through visual aids. His first project was a mural for the funeral procession of the slain activist, Lean Alejandro, in 1987. It was immediately followed by graphic designs, posters, streamers, banners, comics, illustrations, effigies, stage and production designs, and more murals used in rallies in Metro Manila and other provinces. He, then, became a co-founder of Sanggawa, an art collective that continuously produced collaborative murals in the mid-90s.

“Hindi lang ang totoo at maganda sa paningin ng iba ang pwedeng ipinta.” With everything and every group that he has merged with at a point in his life, he was able to know himself and his purpose – to be a relevant being to society, and to impart and depict the truth in the lives of ordinary people in his paintings.

“Gusto kong ipakita sa paintings ko and totoong buhay ng karaniwang tao. Ang Buhay Kalye.”

Borlongan’s depiction of Buhay Kalye pertains to stories that emerge out of nowhere, the common people’s way of life, the way they work, how hard they work for their families doing trivial tasks, doing many trivial tasks, in fact, in order for the pooled salaries to be just enough to feed a growing family. The paintings are sometimes depressing, but sometimes are also comical. He intentionally paints them in a way that they cover all aspects of a simple life; that in every frame, no matter how destitute, laughter may be found.

For whatever feeling his paintings communicate, he stands by his belief in the power of a single image.

His trademark of painting bald men, and characters with eyes that catch the viewer’s attention even when they are painted closed, Borlongan consistently invoke the idea of motion and emotion in all his works. They are snapshots of mundane activities, like watching people pass by, line up, or get bored in a designated waiting area. His view, slightly distorted makes the painting all the more dynamic. A viewer is enticed to think of what could have happened prior to that snippet of the day, as well as what happens next. Was there a fight? Did he fall off from the bus? Why are the characters looking at you?

What is exceptionally intriguing in his paintings is the feeling that the viewer is meant to be part of the painting. The angle by which a person sees the painting puts him in a persona who plays a role in the story. Without the observer’s point of view, the painting is not complete.

“Driver’s Lounge” for instance, turns me from a curious admirer of art, to a person walking away from my car in a parking lot towards the entrance of a mall in Ortigas. “Pamilyang Menthol” 1994 conveys to me a family of smokers and what they would look like from the view of the television in the living room, as they gather one evening to watch what I would imagine as a cash-disbursing community-oriented show.

His recent work, “Batang EDSA”, the poster image of this year’s Philippine international art fair, ManilART 11, is an interpretation of Dong Abay’s song called “God Bless our Trip.” The painting shows the harsh reality of children who have limited comforts and opportunities in life – that instead of enjoying their childhood playing games and studying, they spend their days working in very dangerous and risky jobs such as selling cigarettes and threaded necklaces of Sampaguita on the street and jumping in and off of moderately moving buses, all for a few Pesos just enough to sustain themselves for the day.

Borlongan’s paintings remind me of looking at the world for the first time. With all the peculiarities, the dust, the hard labor, the cheap labor. The world in his paintings does not look dirty or poor as he creates a dramatic and captivating scene of what could have otherwise been an ordinary day.

Looking into the future, Borlongan sees himself continuing what he has already started – painting the lives of the ordinary. “Marami pa akong naiisip na subject matter na tulad sa tema ng paintings ko ngayon.” He still intends to use the traditional media oil and acrylic, but he is open to using other media if the opportunity arises.

He refuses to be boxed in to paintings in expressing his creativity. A technologically savvy artist, he says he is now using a modern day touch pad in producing new drawings and digital finger paintings. In terms of photography, he is attracted to the history and mechanics of the single-lens reflex (SLR), rangefinder cameras, and the process of film developing, thus is incredibly fascinated with and fond of practicing analog photography. Also in his list of innovations and expansions is the production of limited edition vinyl toys which is the base of his works.

He admits it is difficult to say for sure what he will be doing in the next decade, but if given a chance, he would still want to create large scale paintings and public art accessible for all to see. He hopes to develop some more in his craft and explore more styles and new media in art.

“Maswerte ako na I’m living my dream as an artist.” The struggle in becoming a recognized artist took long, he said, but through hardwork, perseverance, dedication in his craft, and the support of family and friends, he was able to build a body of work that he is truly proud of. Instead of pitying himself for the hard times that he went through, he has pooled strength and cleverly used his motivations as the running theme in his paintings, in which everyone can relate to. Through his works, he shows the resilience of Filipinos in the face of all types of challenges in life. It is an unlikely trait of a Filipino to give up, and no matter how tough times get, there is always a sliver of humor to be seen to lighten the burden.

In each of his finished works, he guarantees that no compromise was made, and that he is satisfied with all of them. This is what he hopes to be his legacy to the next generation of artists – to inspire them and have them inspired by the beauty and perfection of their own works.

“Malaking contribution ang art and culture sa soul ng isang bansa. Dito natin makikita kung ano na ang naabot ng ating kaisipan.”

Elmer Borlongan graduated from the University of the Philippines Fine Arts, Majoring in Painting in 1987, and is the artist whose painting is ManilART 11’s poster image. He has had 16 solo exhibits to date, and has honored the Philippines with his participation in group exhibits in Copenhagen, Singapore, Madrid, Kuala Lumpur, Sydney, Brisbane, Oakland, Tokyo, New York, and other parts of the United States.He attended several conferences abroad and joined the Metrobank Annual National Painting Competition where he won second prize in oil painting twice during the 80s and early 90s. His fame immediately advanced with his inclusion in the prestigious Thirteen Artists awardees of the Cultural Center of the Philippines in 1994.

His works can be viewed in the public collections of the Fukuoka Asian Art Museum and the Tokyo Museum of Contemporary Art in Japan, the Singapore Art Museum, Queensland Art Gallery in Australia, Pinto Art Museum in Antipolo City and the Metrobank Foundation, Philippines.

(This article is the unedited version of the cover article for Contemporary Art Philippines MANILART 11 commemorative issue)