Victor Espinosa (Bong Espinosa)

To the man on the street, talking about innovation in the world of visual arts seems almost superfluous. A single glimpse of the interiors of museums, galleries, and art schools—or simply the buildings that house them or gardens that surround them—would reveal a world where to be creative and original is not only a trend, it is a way of life. In this constantly shifting field, where the terms “innovative” and “alternative” take on a degree of vitality rarely found in any other art form, how does one begin to define what makes a work of art innovative? Breaking tradition “The term ‘alternative’ is part of the jargon in the field of fine arts,” writes Prof. Marco Ruben T. Malto II, assistant professor at the Studio Arts Department of the College of Fine Arts in UP Diliman. In his unpublished essay, “Tradition and Change: Alternatives and Innovations in Art,” Malto explains that “[what is ‘alternative’] is defined in relation to what is ‘traditional.’ In laymen’s terms, it simply states that what has been in the practice for so long is somewhat boring, and therefore the need to have a ‘newer’ approach is necessary. This newer approach is what we call innovation.” While tradition is a concept anchored to time, Malto points out that it is misleading to define innovation simply as anything that goes against tradition, that is, anything “modern.” Yes, Pablo Picasso showed artists how to look at things from a different perspective, and yes, things were taken a step further when artists began using non-traditional materials in their work, so that scraps of clothing, pipes, train tickets, beer bottles, and even broken couches soon found themselves upon canvases and plinths in art exhibitions. But art innovation began when the thinking humans used pigments and dyes to paint the first murals and fired the first decorative clay vessels. In our own country, our ancestors established the practice of art innovation through their implements and ornaments of beaten gold and precious stones. Cycles of time Prof. Leo Antonio C. Abaya, assistant professor at the Department of Art Theory and an award-winning film production designer, makes a similar point. “Many so-called innovations, if we trace them and study them correctly, are actually things that have been done in the past. It was stopped for some reason or another, and then was revived.” He refers to the case of Jasper Johns, one of the very first twentieth-century artists to use encaustic or wax-based paint in his paintings. “At the time he used it, he was hailed as a great innovator,” Abaya says. “But the use of encaustic as material in painting actually started in Egypt. So it’s a revival or a recon-textualization of the use of a certain material.” When asked about some of the new innovations—or revivals, as the case may be—in the international art scene today, Abaya mentions the coming of age of photography as a fine art. “There are many, many galleries in London dedicated to photography as a fine art, not as a craft. Also, some artists are starting to paint in the traditional way again, using oil and acrylic, “except that the figures are a little edgier now. For a while, [the practice of painting] was forgotten when artists started doing mixed media, mixing paints and conceptual art. People said painting was dead.” “I also think the penchant for decoration has come back,” he adds. “Unabashedly, no apologies, the decorative stuff arts making a comeback, But they are edgier. In short, they are recycled.” However, Abaya emphasizes that merely recycling old materials and old techniques is not enough for something to qualify as innovation. Wax-based paint has always been there, but Johns deviated from the Egyptians’ style and technique because his imagery was contemporary. The same goes in the case of oil painting, which is often said to have been “invented” in the fifteenth century but was actually used by the Egyptians. “What is innovative is actually linked not so much to the newness, but to the freshness in the use of certain things. It seems new because nobody has done it in recent memory. That, for me, is innovation.” Presenting reality The relationship of time to art innovation is given a different spin by Studio Arts Department assistant professor Prof. Roberto B. Feleo. “What they call the contemporary artist is actually an artist who tries to solve contemporary problems [through his work],” he says. “So innovation comes into the solutions he presents in his work, or the way he portrays a particular problem, how he approaches a work of art.” Among the issues a contemporary artist has confronted in recent times, according to Feleo, is the question of identity in the arts, a main concern of the post-colonial era. “Artists turned to practices and materials that existed before the Western tradition of painting, such as weaving, woodworking, pottery, and metalsmithing. Confronting such issues, according to Feleo, “results in the innovations in the works of young artists.” Basis in culture Malto also cites the idea of art innovation and the exploration of different materials and techniques as something stemming from our culture and experience as a nation. “[Art comes] naturally to us Filipinos,” he says. “Marami tayong nakikita at magaling ang mga kamay natin.” In his paper, he mentions various ways in which art manifests itself in Filipinos’ daily lives. “To turn food into colourful forms, such as the pastilles de mayumo or kakanin, is a creative and appetizing way of presenting food as art. The festive moods of colourful forms of pahiyas and ati-atihan in a multi-media atmosphere, the vintage US army jeep turned into vibrant Sarao jeepneys…the Eloys and ukay-ukays…All these present a unique parallelism to the exploration of alternative materials in a broader scope of art.” Malto suggests that those in the fine arts can take their cue from local art found in everyday life and break away from the concepts and norms of art dictated by the dominant and powerful culture. “Efforts being undertaken by the artists include the search for indigenous materials in art-making.” In the last two decades, standard art materials such as oil and acrylic for painting or bronze and marble for sculpture have reached a plateau, as artists search for alternative raw, indigenous materials in art-making. Feleo adds that the need for cost-cutting is another motivation for the artist’s exploration of alternative materials. “What you have [available] is brought into the classrooms [of art schools],” he says, adding that this presents another dimension in the challenge of creating art from non-traditional objects and materials. “The mother of creativity is really scarcity.” Viewer reactions “I come from the school of thought that holds that art is nothing without the viewer,” declares Abaya. “Art cannot stand alone. The whole business of art is actually the interaction between the objects and the audience.” Judging what is innovative in art, then, depends partly upon the scholarship of the artist and the work’s audience. “We live in a very visual world,” says Abaya. “We know when something is innovative, or what if what we’re looking at or appreciating is something that we’ve not seen in the recent past.” Feleo also mentions the need for innovations to enter into the mainstream where they can more effectively change things for the better. “All of these innovations would have [to be] filtered down, or up or sidewards or backwards, as long as they filter toward the needs of the greater number. And so you have these new ideas in industrial design, in advertising. All of these ideas you see in the most common objects, such as pens and ball pens.” Being True to Oneself Beyond the considerations of time, culture, tradition, and national and artistic concerns, innovation stems essentially from one’s knowledge of himself and his art. Being true to yourself, as Abaya tells his students, is a foolproof way to ensure that your work will stand out. “You want to be fresh? You want to be unique? You don’t look anywhere else. The individual is unique, [so you must be] able to know yourself well and express [that self] as eloquently as possible. Of course the eloquence will be based on how well you know your theory and your practice, how good you are in your techniques. But if you use yourself as a source, it’s like finding your own voice. Lucky the artist who in his lifetime finds his voice.” Finding one’s voice—and hence, one’s own uniqueness as an artist—entails a constant self-awareness and unshrinking self-inquiry. “Art, in my own definition, is a constant striving to outdo yourself,” Feleo says. “To the point where it becomes a lifestyle, and it cannot be contained. It comes out even when you’re involved in the most mundane activity. If 70 or 80 million Filipinos thought that way, maybe this country will finally get moving.”

The art group Artisthood is Davao City's latest major achiever in the field of the visual arts. Its prolific members have conducted six group exhibitions since it was founded in 2002. Five of its founding members have either won prizes or gained recognition in the international art competitions they had joined in within a span of three years: an indication that their art draws significant appreciation from international art juries.


To expand our art horizons, we, Artisthood members, are going on an Exposure Trip early next year to the world’s modern art Mecca, New York. The Philippine Center–NY management board has found our project – after a screening process – worthy of support and has scheduled Artisthood for a group show at the Philcenter on April 10-21, 2006 (please call Philcenter (212) 575-4774 for verification).

To meet our needs for round-trip air fare and board and lodging during the project period, we are pre-selling some of our major artworks. Artisthood founding members and international art awardees Ega Carreon and Ben Banez, both Dabawenyos, are now in New York to arrange this matter for us. Aside from our art portfolios online, he can also show you samples of our artworks in 5R photographs. Should you desire to talk to him beforehand, his personal mobile phone number is 011-71830-43644.

About VICTOR bong espinosa:
I had mounted numerous Solo expositions and has participated in various group art exhibitions and competitions here and abroad.

I also Considered myself a consistent Finalist in different local and international art competitions, some of which are launched in the internet. I first made international impact in 2002 when I became a Finalist in the International Symbolists Juried Art show in Canada . Followed by a repeated feat In the 9th & 10th launchings of the Internet International Art and Photo Contests in Japan , 2003 and 20'04. My imaginative pen and ink drawings were also chosen from amongst the 40 emerging International artists in the 'Phases of Eve' An interpretation of the female ideals. A fine art multimedia show presented by Art Fix International, USA 2006.
I also had two artworks chosen in the BTB 'Beyond the Barrelman' Juried International Show-Chicago , USA . 2005. In 2007 I had my works exhibited in “Time Frames” Cross-culture exhibit in Washington DC. And the artwork “Daba-daba” was selected and published in the year 2007 Artwanted and Artslam table Calendar. I had my year-ender submissions in 2007 to the North America Small works Sale and Exhibition, wherein One of my Hinterland Nature series was chosen.

My first US group show was with the Artisthood “5 artists, 5 journeys” Exhibition at the Philippine Consular office in Manhattan New York, last 2006.
In 2008 I received a partially funded Artist Residency at the Vermont Studio Center, in Johnson VT. Under the Asian Artist Residency and Fellowship Program. In which I was awarded a Travel Grant and accreditation from the National Commission on Culture and the Arts-Philippines thru the Artists in Excellence Support Programs for the Young artists.
I had my First Studio works and Exhibition at the Barbara White Studios in Vermont Studio Center. After that I mounted my Second solo show in New Jersey at the residence of an Education technocrat in the person of Dr. Loretta Osakwe.

And all of the artworks seen on this site are my original and exclusive creation, being the result of my intellect and labor alone, and has not been copied from or is similar to any previous or existing artworks, in terms of composition or otherwise, even rendered in different style, medium, color scheme. Some of this works are entered in various local and foreign competitions previously.

This Gallery of works will not infringe any intellectual property rights of any party.

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Writer/Art Critic ROBERT P. DE TAGLE's Article May 22nd, 2008



Espinosa's Art as Intercultural Dialogue
by Robert P. De Tagle
At the October 2007 United Nations Dialogue on Interfaith and Intercultural Understanding in New York, Secretary-General Ban Ki-moon called on the need "to rebuild bridges and engage in a sustained and constructive intercultural dialogue, one that stresses shared values and shared aspirations."

It was during the International Decade of the World's Indigenous People from 1995 to 2004 that the UN Commission on Human Rights adopted a resolution to establish the Permanent Forum on Indigenous Issues. According to the University of Minnesota's Human Rights Center in 2003, indigenous peoples worldwide "number between 300 and 500 million, embody and nurture 80% of the world's cultural and biological diversity, and occupy 20% of the world's land surface."

Against this backdrop, Davao-based painter Victor Espinosa has just completed a fellowship at the Vermont Studio Center, where he was a resident artist along with about 20 other painters, sculptors and installation artists from around the world, along with writers.

Asked what he found of value to him at Vermont, he noted that a visual presentation he had to give to the other fellows, the administrators and the visiting mentors/critics was the most difficult for him, and yet was one of the most satisfying as well. He would, after all, like many visual artists rather work on his art than make an oral presentation. As he made them aware of the indigenous tribes in Mindanao or lumad -- about whom he collaborated with an NGO to do a story book, based on an immersion experience, in which his artwork helped beam a light on their customs, way of farming, and their plight – there was silence in the room as they were touched by his presentation, then expressed a respect for these tribes and to his vision.

Known as Bong, Espinosa is a member of Artisthood, a vibrant cooperative of Davaeño visual artists whose other members have previously attended the Vermont Center program, including Edgar Carreon and Ben Bañez, both in New York, and Philip Somozo. Together, they also held an exhibit of Artisthood at the Philippine Center in 2006, which I was fortunate to cover, initiating at that time a friendship with these talents.

At a special private exhibit in Orange, NJ, called Kagikan or "origins," Bong presents works from 2003 to 2008, including a piece he completed in Vermont that one may think of as a counterpart to the richly designed and intensely hued Gobelin tapestries from Paris, showcasing the themes of indigenous peoples, the preservation of heritage, and what the UN has focused on, promoting "interfaith and intercultural dialogue."

Speaking with the patron and collector Dr. Loretta Osakwe, the interfaith link was evident to me as she recounted her contacts with the artist resulting from her work and participation at conference on Muslims in Thailand and Mindanao.

Espinosa, growing up in Davao, and being exposed through the storybook project on the indigenous peoples (or IP), is well aware of their condition, and the importance of cross-cultural dialogue in the lives of the populace, one that goes beyond bureaucratic policy papers or political statements. That empathy for the customs and way of life of the 'natives' of Mindanao gives these works immediacy and impact.

Interestingly, some of the non-Filipino attendees at the exhibit, perceived a strong link with these works that are decidedly 'Asian.' Espinosa moves between the genres of symbolism and surrealism, as in the 2004 works 'Sustenance' and 'Flourish'; in this current show, his art as an expression of a specific people – folk art- comes to the fore. His works made the finals of the 2002 International Symbolist Art Competition and the 2000 Winsor & Newton Worldwide Millennium Competition.

His art is on display in Orange through the end of May. For more information, email .

Robert P. De Tagle, MBA, an editorial consultant, writes on business and art events; .

Monday, April 07, 2008
Dabawenyo artist gets fellowship grant in US
By Emi Alexander Englis

HOMEGROWN visual artist Victor "Bong" Espinosa is geared up for a four-week, partially funded Asian Artist Fellowship and Residency Grant at the Vermont Studio Center (VSC) in Vermont, New York, USA, starting on March 30 until April 25.

This come close to Spring season when the Vermont art community bursts into a hustle and bustle of creative exchanges and endeavors by artists from all corners of the world.

Arroyo Watch: Sun.Star blog on President Arroyo

Espinosa is among over 600 painters, sculptors, and writers this year who will troop down Vermont to share their manifold experiences in a variety of expressions articulating the universality of their distinct art-making.

He will now be joining the prestigious roster of Dabawenyos who previously had their stint in Vermont and brought home productive experiences by working on their own creative areas and exchanging ideas with artists of similar high caliber.

The cream of the crop includes Bert Monterona, who is now a resident artist in Canada; Philip Somozo, who just returned home to foster further creative endeavors; surrealist Bien Bones Banez, who chose New York to be his home base and had since been reaping rave reviews; and modern symbolist Ega Carreon, also on arts and antiques expert, who successfully brought local Artisthood to exhibitions in various cities in the US.

The most recent of which was last year's group art show at the Philippine Center in Manhattan, New York, which Espinosa spearheaded and also participated in.

Espinosa's objective of promoting the dynamism and universality of the Dabawenyo soul further earned for him the support of the National Commission for Culture and the Arts' Committee on Visual Arts, who will also fund his travel to Vermont under its Program for Artistic Excellence-Support for Young Artists. This came worthy with Espinosa's extensive and professional portfolio.

Since 1988, his seven solo exhibitions and more than 40 group shows prominently expressed his Dabawenyo spirit which extended beyond the canvas to include involvements among local cultural communities by advocating a better understanding and respect for their culture, arts and life, in general.

This was again evident in his appropriated body of works from the Book Illustration project commissioned by Tricom in late 2006, which will soon be published relative to his studio and residency works in Vermont. Upon completion, it will be scheduled for a series of expositions here and abroad as part of its project implementation.

Bringing the traditional images and the rare stories of the tribal minorities in the outside world as approved by the VSC will be the expected results for social awareness so that generations may know their ancestral practices, existence, systems, culture and their knowledge.

Remarkably, the artist's body of ethnic-inspired works is no stranger to both local and international art scenes. His sterling performing as finalist in the International Symbolist Juried Art Show in Canada paved the way for him to break into the global arena in 2002.

His repeated inclusion in the Internet International Art and Photo Contests in Japan on 2003 and 2004, respectively, further poised him for more artistic accomplishments worldwide.

Among them are: Phases of Eve, where he was chosen from among 40 emerging international artists; Beyond the Barrelman Juried International Show, wherein two of his artworks were exhibited in Chicago, USA in 2005. The following year, his works were showcased in "Time Frames," a cross-culture exhibit in Washington, DC. Just last year, his artwork "Daba-daba" was published and circulated globally in Artwanted and Artslam table calendar.

His 2008 year-ender participation to the North America Small Works exhibition and ongoing online juried competition has ended late December, adding yet another feather in his cap. After his stint in Vermont, Espinosa is scheduled to stage his first US solo exhibition in New Jersey, upon the invitation of an education technocrat, Dr. Loretta Osakwe, former chairperson of the New Jersey Institute of Technology.

From March 30 to April 25, Espinosa will experience more than the blooms of spring when he joins over 600 artists in creative exchanges with such potent media in painting, sculpture, and writing.

He will put on map Davao's artistic fare as other artists, from all corners of the world, put their acts and newfound visions together.

Espinosa's brave visions have matured in time and have enriched with immersions and experiences in the real life setting among indigenous communities in Mindanao. It was further expressed in the global culture with his previous and recent exposure trips in USA, specifically New York, modern art capitol of North America

ART PRESS RELEASE


Davao Artist showcases works on Leaving the American Dream



Many Davao visual artists are attracted by ethnic art and have produced a good volume of work on the genre. The waling-waling, the Philippine eagle, the tribal folks of Davao , and Mount Apo have become favorite subjects of home-grown realists, impressionists, cubists, and expressionists.

Among these many Davao artists is one who experimented with various media and technique. This artist has successfully overcome the challenge to create an outstanding body of works with a unique mode of visual interpretation, a style that he has distinctly developed since time immemorial. His natural talent and exemplary perseverance drove him to transcend geographical limitations and penetrate the international art scene.

Victor ‘Bong’ Espinosa, fresh from New York City , USA , is set to open his seventh homecoming art exhibition on November 18, 2006, Saturday, at Charlie’s Diner, DAMOSA Gateway, corner Mamay and Lanang Roads, Davao City , Philippines .

Entitled: “TURNING POINT”, the exhibit will showcase Espinosa’s latest works that express the psychic and spiritual impact of the artist’s exposure trip to the world’s Mecca of modern art, New York . His previous solo expositions include: "Different world in series" 1st at Mother Bear Restaurant on the year 1996, "Nature-Nurtures” 2nd at the CAP Art Center on the year 1999, "Black Lists" 3rd at Chiaroscuro, Victoria Plaza on the year 2000, 4th: "Mythical Feast" at Linya Gallery, Iligan City on the year 2002, 5th: "heART and Soul" Gallery-J, SM City mall on the year 2004 and 6th: “ArtiFacts” at
Kubiyertos Restaurant held also on this same year.

Espinosa considered himself a consistent Finalist in different local and international art competitions, some of which are launched in the internet. He first made international impact in 2002 when he became a Finalist in the International Symbolists Juried Art show in Canada . Followed by a repeated feat In the 9th & 10th launchings of the Internet International Art and Photo Contests in Japan , 2003 and 20'04. His pen and ink drawings were also chosen from amongst the 40 emerging International artists in the "Phases of Eve" An interpretation of the female ideals. A fine art multimedia show presented by Art Fix International, USA 2006. Lately, he had two artworks chosen to be exhibited in the BTB "Beyond the Barrelman" Juried International Show ( Chicago , USA ) May 2005.
Recently, his artwork “Daba-daba” was chosen amongst a hundreds of foreign and international artists in the worldwide web to be published in the year 2007 and Artslam table Calendar which will circulate globally.

Last April of this year, Bong exhibited, along with fellow Artisthood members at the Philippine Center Consulate in New York . The spring exhibition is called “5 Artists, 5 Paths” also featured are fellow Dabawenyos Phillip Somozo, New York-based Ega Carreon and Ben Banez, Jr., and Canada –based Paul Corpus with guest artist Rex Kyamko.

Espinosa observed that New York is a melting pot of all major races. Immigrants, both legal and illegal, from all over the globe do all they can to make it in the world’s largest city. The title “Turning Point” refers to Espinosa’s decision to “Leave the American Dream”. His works will be on view until February 2007.
-End-

New Datas are un updated:
SYMBOLISTSHOW –Online Exhibition, May 2002-03
ARTISTHOOD - 1st, 2nd & 3rd Group Exhibition-March & August 2002, Royal Mandaya Hotel, Davao City
- 3rd Group Exhibition April 21, 2003, Royal Mandaya Hotel, Davao City
PINOY TEKNIKS 4-MAN SHOW- Filtech Foundation, Davao City –December 2001
PANIT-BUKOG-2-Travelling Exhibit, Iligan, Cagayan, and Davao – October, November and December 2001
MADAYAW BACK TO B ACK with Buboy Buenaventura, Dugukan Gallery , Davao City – August 2001
METING DE ABANSE GROUP SATIRE SHOW, Dugukan Gallery, Davao City – May 2001
SUNGDUAN NATIONAL VISUAL ARTS EXHIBITION, Main Gallery, Cultural Center of the Philippines and regional venues – February – December 2000
MUGNA, Davao Artists foundation Annual show, Gallery 5, JS Citimall, Davao City November 2000
VIII, Gallery5 Inaugural exhibition, JS Citimall, Davao City – August 2000
SALABUUK, 2nd Mindanao Visual Arts Congress, Dipolog City – November 1999
OCEAN, with Davao artists, Gaisano Mall of Davao, Davao City – May 1999
KINAIYAHAN GROUP EXHIBITION, Sangguniang Panglungsod Building, Davao City – April 1999
NCCA LOGO COMPETITION, Selected entries, Sulyap Kultura Gallery, Manila – April 1999
WINSOR & NEWTON WORLDWIDE MILLENIUM COMPITITION, Philippines Selection, Museo ng Maynila, Manila – March 1999
APIL, Philippines arts Awards Mindanao Entries, U.P. Mindanao art Gallery, Davao City – February 1999
TAP-LUD 2MAN EXHIBITION of Mixed Media Works with ABE GARCIA - October 1999, UP Mindaao Gallery
TAP-LUD EXHIBITION SERIES, Puslan Man Art Pub, Davao City – January 1999
AAP CENTENNIAL EXHIBITION, Gen. Luna Gallery, Davao City – July 1998
DINE WITH ART, Art display, Sari-sari Food Express, Aldevinco Complex- April 1998 – 1999
MAGKABILAAN, Two-man exhibition with George Arbitrario, SSS Building, Davao City – March 1998
ART MANILA ’97,along with 8 new artists, NCCA Sulyap Kultura Gallery, Manila, December 1997 – February 1998
2x2 KUADRO, Mindanao Contemporary Art,U.P. Mindanao Art Gallery, Davao City – October 1997
KULAY MINDANAW, Featuring Davao Artists, U.P. Mindanao art Gallery, Davao City- October 1997
KATIGAM, 12th Kadayawan sa Dabaw Festival, Ramon Magsaysay Park Davao City – August 1997
SIGWA KULAY, Lakbay Diwa Artist collective, Second Social realist Group Show, Ramon Magsaysay Park, University Mall and Assumption school of Davao, Davao City – June – July 1997
ABSTRACT JUSTICE, Davao artist group Show, Hotel Manguindanao, Davao City – March 1997
LAKBAY DIWA ARTIST COLLECTIVE, First Group Show, Victoria Plaza, Davao City – July 1996
SINING AT KALIKASAN, Advocacy Mindanao- Wide Tour Exhibition- July 1995-1996
DECOPYU ART EXHIBIT, Rizal Park , Davao – May 1998

Solo shows include: "Different world in series"1996, "Nature-Nurtures"1999, "Black Lists"2000, "Mythical Feast"2002 and "heART and Soul"2004 all exhibitions held in Davao City. Currently, preparing for his 6th solo show by the end of the year.

Ega Carreon, Ben Banez, Jr., Jun Pamisa, Mei Afable, Victor Espinosa,
Rodney Yap and Phillip Somozo

The founding members are familiar names but not, at least not yet, the visual arts group they have founded:



ARTISTHOOD

Because many people are wondering what makes this group different, this Webpage has been created.

What does it stand for? What are its Principles? Achievements? Goals and Programs? Members?

What is Artisthood?

It is a bonding of homegrown visual artists of diverse persuasions with the goal of establishing a strong community of talents in Davao.

Although loosely formed in March 1, 2002, Artisthood is fast emerging as Davao’s latest major achiever in the field of the visual arts. Along with that, it is also gaining recognition here and abroad as upholder of Artists Rights. To top it all, Artisthood breaks away from the trends set by crass commercialism and politicism in the arts and offers a fresh meaning and deeper relevance to the word “Artist” — a meaning imbued with integrity, respect, and responsibility.

From Classicism to Abstraction and the Principles of the 3 Rs

While Artisthood members are characteristically diverse they value their points of unity. Basically, its unifying principles are capsulated in what is called the 3 Rs, meaning

self-Respect,
Respect for others, and
self-Responsibility

Self-Respect requires the artist to conduct his profession with honesty, ideally free from the dictates of commercialism and politics, and to assert him/herself as an important member of society.

Respect for Others is acceptance of the rights of his fellow members and to relate himself to other people with due recognition for self-dignity.

Self-Responsibility is an understanding that what you are is what you make of yourself, especially in the practice of ones craft. Artisthood members are willing sharers of knowledge, time and resources but each member is vitally responsible for his own self-development. Of course, included here is the observance and fulfillment of personal obligations to the group.

Cliché as Greek and Counter-current Resistance

Artisthood accepts commercialism in art because it separates the earnestly unique, the novel, the cutting edge and the avant-garde from the ordinary and the cliche. Its experience has outgrown representation in art so that Artisthood’s vision departs from the commonly observable to the complexities of Non-representational Art, e.g. surrealism, symbolism, and abstraction –styles that do not easily sell in the local market but are sublime and intellectually challenging.

With its advocacy of non-representational art, Artisthood resists mainstream local commercialism and surprisingly with sensational success, understandably not with upbeat sales record but, meaningfully, by setting new trends. All 5 founding members who joined international art competitions on its first year of existence reached the finals, consequently, 2 of them won 1st and 2nd places (see founding members’ profiles). Three main group exhibitions showcasing recent, new and latest works conducted within a 13-month
existence indicates how prolific Artisthood members had become. Requests for tutorials and art workshops too became frequent despite the initial absence of advertisements.

Artisthood interaction with the young, the intellectuals, and the progressives of Davao reveal that there is indeed a felt need for non-representational art. Artisthood is stirring the Dabawenyos’ art consciousness with the challenges posed by their non-commercial and non-representational style and already its impact is taking momentum as a dynamic, new movement.

Lennonists not Leninists

Artisthood’s respectable achievements within a short period belie its loose organizational form with no structure nor set of officers. Clearly however it indicates the potential of the group to create positive impact on viewers. Now on its second year of existence, Artisthood is beginning to accept the demands for a formal organization – a consequential legal requirement because the group has launched, though tacitly its 3 programs, as follows:

¨ The conduct of public Art exhibitions and Workshops,
¨ The conduct of Competitions on Non-Representational Art, and
¨ The establishment of the world’s first tropical Artist Sanctuary.

About VICTOR bong espinosa:
I'm a raw, home-grown talent that evolved into one of the finest mixed multi-media artist in Dvaao and Philippines. I have captured tropical colors and compositions in my art which are manifestive of my love and respect for the ethnic. I intuitively experimented using remarkable tools such as melted glue sticks in developing a style that is very modern yet so pristinely native in appearance. Astonishingly, my compositions at times transcend to the cultural as colors seem to swirl and flow on ancient Mystical patterns that switch one’s consciousness from the mundane to the spiritual realms. I had mounted numerous Solo expositions and has participated in various group art exhibitions and competitions here and abroad.

I also Considered myself a consistent Finalist in different local and international art competitions, some of which are launched in the internet. I first made international impact in 2002 when I became a Finalist in the International Symbolists Juried Art show in Canada . Followed by a repeated feat In the 9th & 10th launchings of the Internet International Art and Photo Contests in Japan , 2003 and 20'04. My imaginative pen and ink drawings were also chosen from amongst the 40 emerging International artists in the 'Phases of Eve' An interpretation of the female ideals. A fine art multimedia show presented by Art Fix International, USA 2006.
I also had two artworks chosen in the BTB 'Beyond the Barrelman' Juried International Show-Chicago , USA . 2005. In 2007 I had my works exhibited in “Time Frames” Cross-culture exhibit in Washington DC. And the artwork “Daba-daba” was selected and published in the year 2007 Artwanted and Artslam table Calendar. I had my year-ender submissions in 2007 to the North America Small works Sale and Exhibition, wherein One of my Hinterland Nature series was chosen.

My first US group show was with the Artisthood “5 artists, 5 journeys” Exhibition at the Philippine Consular office in Manhattan New York, last 2006.
In 2008 I received a partially funded Artist Residency at the Vermont Studio Center, in Johnson VT. Under the Asian Artist Residency and Fellowship Program. In which I was awarded a Travel Grant and accreditation from the National Commission on Culture and the Arts-Philippines thru the Artists in Excellence Support Programs for the Young artists.
I had my First Studio works and Exhibition at the Barbara White Studios in Vermont Studio Center. After that I mounted my Second solo show in Orange, New Jersey under the sponsorship of a retired Education technocrat in the person of Dr. Loretta Osakwe.

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VICTOR "bong" ESPINOSA[b.1972]is a self-taught professional artist from the school of Life. Studied Architecture in the University of Mindanao, Philippines. Prize winner in various Inter school art competitions. an "Artist of the year awardee" in High school level. Lived and worked in a Manila based multi-Advertizing Agency from 1992-96 simultaneously. Back in his homeland, Davao and Active in the community art organizations. A founding member of: Lakbay-Diwa artists collective ( a local Social Realists art group), Past officer of the umbrella group Davao Artists Foundation DAFI and the latest reputable loose-group "Artisthood" with founding members in the US and in the Philippines. Participated in some various art workshops. Involved in numerous local, national and international art gatherings and congresses, has attended several symposiums. Has participated in various group exhibitions since 1988 up to the present. Project organizer/facilitator to the "Pandayan" streetchildren skills enrichment workshop in 3-cities in Mindanao funded by the NCCA.


Bong Espinosa as a Self-taught artist:

"Throughout history there have been artists who created without the benefit of formal training. However, for many centuries, the dominance of the European art academies obscured the work of these self-taught artists, who were judged to be inept and inferior. Only at the dawn of the 20th century, when artists began to rebel against the academies, did self-taught art suddenly receive serious attention from the mainstream art-world. Artists like Picasso and Kandinsky felt that trained artists were inevitably corrupted by their schooling, and that self-taught artists were purer and potentially greater. In the wake of this support from important modern artists, collectors, dealers and scholars developed a sustained interest in self-taught art"

Espinosa, a simple family man in terms of character & lifestyle; lives and works in Davao City,Philippines. Through his eccentricity he has unintentionaly achieved what other artists try so hard to project- "an Air of Mystery"..

"In a decade of my sensitivities being a visual artist, I learned to stick, breathe and lived with my art for so many years now. My craftsmanship and exposures to the art world enables to mold me into a fine competent human being. For me Art is my living passion statement in testifying my existence, my pre concepted movement in contribution to the modern day sophisticated art world. With this adventure in pursuit to artistic excellence, I always count on to my personal experiences and undertakings. For this inspires my instincts to explore more in my creative possibilities. I believed being a professional artist requires patience, discipline, hardwork, dedication and sincerity to your art in order to succeed."


The symbolic implications of a perceptive methods and the innovative materials I use in all of my works are as important as the concepts and forms. I might build up and explore the organic substance of my art, exposing the underlying images of imaginative floral landscapes, or I might exaggerate images in layers of soothing vibrant colors. As the noodle-like lines embodies its subject, the complexity and intricateness of my designs mark them just as a weather and time marked by nature itself. What lies beneath always relates to me the unsettling image of the richness, diversity and universality of Philippine culture. Unifying these works into a unique personal points of view from a third world generation artist.
I seek a textured motifs on my art which lines protrudes, combining natural marks, earth artifacts, symbolic patterns, leaves-with such humane creations as a language of my personal soul and the diagrams of fine meticulous bead-like dot trails. Some of my unique genre works suggests the idea of how human interacts with the beauty of nature itself. And the Spontaneity is integral to my work. In joining the free, thoughtful and the spiritual realm."