Exhibitions

On being questioned by this writer why sculpture in our country has proceeded at such a laggard pace, left behind by painting by a mile, National Artist Arturo Luz, who excelled in both fields, replied: “First: Filipinos don’t know what to do with sculpture. We think of sculpture essentially as a monument to some hero; second, the price of sculpture tends to be higher than painting, which leads to the third answer: our artists hesitate to venture into the field of sculpture because of the expensive and prohibitive cost of materials; last, but not least, is the challenge of sculpture itself – the challenge of working with one’s hands, the challenge of working in a three-dimensional form. In any case, the problem of economics is, I believe, the primary reason.”

While most others would have been deterred by the problem of economics, fortunately, Gil Corcuera was not. A veteran art director in the corporate world of advertising, Corcuera, now long retired, is now in full control of his time and resources, allowing him to pursue his passion for the arts. At home in both painting and sculpture., he presents his recent masterworks in a solo exhibition billed as “Resurgence,” on view at the Galerie Joaquin, Rockwell. Since the last solo show of Corcuera was held a number of years ago, the title will inevitably allude to a renewal, a rejuvenation, of his sculptural ideas. Some of the works date back to pre-pandemic times.

Dominating the medium

Vis-à-vis the remark of Mr. Luz, Corcuera, to be sure, does not think of his sculpture as a monument to some hero – not that he would decline such a commission were he to be given full creative control. And he certainly knows how to dominate the intractable three-dimensional medium and let it submit to his own needs. And yes, Corcuera is a hands-on artist, delighting in the tactile appeal and sensuousness of all materials at hand. Corcuera’s sculptural works are a harmonious blending of minimalist execution and maximalist feelings: human emotions made manifest through wit, merriment, and mirth. He operates on a level of high and formal sophistication and unremitting refinement.

Elegantly crafted

All the works are elegantly crafted and uniformly fully realized as sculptural forms, distinguished by polish, gloss, luster, finish, and sheen. In harmonizing the two seemingly incompatible materials of cold metal and warm wood – each with its own integrity germane to the nature of their source - Corcuera succeeds in achieving results that are engagingly fresh, lively, and winningly animated. In particular, the sculptor delights in the intriguing shapes of the burl of the wood. Through the felicitous encounter of these two materials, Corcuera allowed his sculptures to breathe out and enter an exciting domain that remains open to further exploration.

Functional Sculpture

The so-called functional sculpture was pioneered in our country by National Artist Napoleon Abueva. His avidity to transform the medium into something serviceable, and therefore more emotionally accessible. Investing his artistry on tables, chairs, doors, desks, and lamps, (indeed, even coffins!), he reinvigorated their all-too-familiar and exhausted forms. Admirably, Corcuera’s own functional sculptures, like La Mesa and Purple Pleasure, have his own personal stamp of whimsy and style. For the furniture’s legs, Corcuera has restructured the long hollow metallic tube into many delightful twists and turns, and given a fresh coat of prismatic paint. The table top itself is made from cut-out metal, leaving organic-shaped holes.

Religious Statuary

Moreover, Corcuera strips religious statuary, favored by church sculptors, as a repository of all those baroque and archaic curlicues, to its minimalist form. In his work, Nuestra Senora de Divina Gracia, Corcuera did reduce the Mother and Child to their basic traditional shapes, but reserved the grand gesture for their two oversized golden crowns. This prodigality of sculptural articulation in stark contrast to the reductive forms can produce a frisson or thrill, even shock, at the sight of the unexpected. One hazards the guess that Corcuera even calibrates the desired effect he wishes his works to have on his audience. In his Crucifixion, both the Dead Christ’s body and the wooden cross have been turned to industrial steel, studded with rivets and bolts. Was the choice of medium appropriate? One is reminded of a statement made by the American sculptor David Smith: “Possibly steel is so beautiful because of all the movement associated with it, its strength and functions. Yet it is also brutal: the rapist, the murderer, and death-dealing giants are also its offspring.” The exhibition abounds with works that put a smile on your face. Box O’Laughter literally captures a trio of toothy smiles in cut-out metal, encased in a see-through cube. Memorialize a departed pet? Sure! Best Friend Bentley is a witty contrivance of a found object: a decorative frieze that evokes the dog’s fluffy hair, astride the cut-out shape of the lamented canine. One imagines Corcuera noticing a familiar object and studiously analyzing how it can be reduced to the brink of abstraction, and yet retain evocatively a semblance of the original image. Regard, for instance, his sculptures titled Bonsai, Saranggola, Meme Na, and Peace. An allusion to the famous insane character in Rizal’s Noli Me Tangere, the work titled Sisa is easily distinguished by the shape of the native attire with voluminous sleeves. No need for a single pause to determine the source of the inspiration.

Renaissance

With his show “Resurgence,” Gil Corcuera gives notice to the public that a renaissance in Philippine sculpture is on the way – economics be damned.

Cid Reyes is the author of choice for National Artists Luz, BenCab, J. Elizalde Navarro, Napoleon V. Abeva, and the estate of Fernando Amorsolo. A prolific critic, he has written/co-written over 40 art books. He wrote the landmark book of interviews, Conversations on Philippine Art, published by the Cultural Center of the Philippines (CCP). His latest book, MVP: The Man and His Art, won a Gold Trophy in the 2021 Stevie International Business Awards. Reyes received a Best in Criticism Award from the Art Association of the Philippines (CCP).