Victor Espinosa (Bong Espinosa)
Alle kunstwerken van Victor Espinosa (Bong Espinosa)
Exclusieve selectie tegen gereduceerde prijzen • 1 kunstwerk
Bekijk allesHarmony with Nature • 10 kunstwerken
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Recent mixed media artworks inspired from my local trips in the hinterland regions. Associated with[...]
Recent mixed media artworks inspired from my local trips in the hinterland regions. Associated with family interactions, together with the people around in nurturance with the environment.
Eagle man series-Works done in Vermont Studio Center 08 • 11 kunstwerken
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Espinosa's Art as Intercultural Dialogue
by Robert P. De Tagle
At the October 2007 United Nations Dialogue[...]
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; .
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; .
Artworks done in Vermont Studio Center • 17 kunstwerken
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This was again evident in his appropriated body of works from the Book Illustration project commissioned[...]
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
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
Oriental Landscapes:Intricate colors & exotic design • 21 kunstwerken
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All of the artworks seen on this site are my original and exclusive creation, being the result of my[...]
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 vatious local and foreign competitions previously.
This Gallery of works will not infringe any intellectual property rights of any party.
This Gallery of works will not infringe any intellectual property rights of any party.
Large Scale works- Intuitively experimented • 20 kunstwerken
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Okir-inspired grace. Organically Mindanao culled from the architectural memory of the maternal genes.Victor[...]
Okir-inspired grace. Organically Mindanao culled from the architectural memory of the maternal genes.Victor Espinosa,employing "high-tech" means to produce artworks that exude finally something ethnic and indigenous in rhythm and in trance one can hear the gongs and seminal fluids of his creativity.
Espinosa"s earlier works were balls of whirling fire filled with movement. Those explosions have finally settled down to earth to take the shapes of human beings, landscapes, boats and rivers,visual descriptions of births and beginnings and growth.Architectural gardens in highly personalized stylization accomplished with such inane craft material as glue-gun and plastics tracing without shame or guilt the incursion and the inevitability of industrial material,accepting this "progress" with a philosophical artistic stride.What exists will soon become a neccesity,the tool to express the mode of manner ot the times.This is the only way to cope up with change keeping the goal and the future in mind,hands left and right harvesting the passage of ideas and concepts putting them down on canvas,paper,wood,plantskin,stone,metals,cloth as the universal music plays the ageold themes of love and war.How yo see them are your own artistry,your expression of the shapes of life.
Victor "Bong" Espinosa is an intrepid, careful, calculating artist who knows the value of his charm. Nevertheless he is not absolutely waterproof and will catch a cold when walking in the rain. God"s Davao creature he.
ROAD MAP SERIES Vol.3 No.1Printed in Davao City Philippines
Espinosa"s earlier works were balls of whirling fire filled with movement. Those explosions have finally settled down to earth to take the shapes of human beings, landscapes, boats and rivers,visual descriptions of births and beginnings and growth.Architectural gardens in highly personalized stylization accomplished with such inane craft material as glue-gun and plastics tracing without shame or guilt the incursion and the inevitability of industrial material,accepting this "progress" with a philosophical artistic stride.What exists will soon become a neccesity,the tool to express the mode of manner ot the times.This is the only way to cope up with change keeping the goal and the future in mind,hands left and right harvesting the passage of ideas and concepts putting them down on canvas,paper,wood,plantskin,stone,metals,cloth as the universal music plays the ageold themes of love and war.How yo see them are your own artistry,your expression of the shapes of life.
Victor "Bong" Espinosa is an intrepid, careful, calculating artist who knows the value of his charm. Nevertheless he is not absolutely waterproof and will catch a cold when walking in the rain. God"s Davao creature he.
ROAD MAP SERIES Vol.3 No.1Printed in Davao City Philippines
Organic forms and intricate designs in soothing colors • 12 kunstwerken
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This series of small works were traveled in New York and exhibited in Phil Center Consular office. Luckily,[...]
This series of small works were traveled in New York and exhibited in Phil Center Consular office. Luckily, some of this works were sold during the opening and the rests were also sold at an Artist friendly price.
"Exquisite" series of vase shaped works • 17 kunstwerken
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Artist"s demonstrates the power of imagery to convey emotions, feelings and concepts, values, cultural[...]
Artist"s demonstrates the power of imagery to convey emotions, feelings and concepts, values, cultural and social meanings. As an artist my creative production involves in active manipulation of selected indigenous materials using remarkable tools and various techniques, that elicits my desire of visual effects, satisfaction and fulfillment. Being an artist I have setted my own working standards which sometimes I considered out of the basics, a variety of complex ideas and my creative interaction between the environment and the world of art.
B'laan Tribe in Saranggani Province • 18 kunstwerken
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B'laan Tribe of Glan Saranggani Province
Vermont Studio Center, Asian Artist Fellowship Grant 08 • 23 kunstwerken
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VSC Artists and Writers Fellowship Residencies with VSC Directors and staffs, with the Visiting Artists[...]
VSC Artists and Writers Fellowship Residencies with VSC Directors and staffs, with the Visiting Artists and Writers.
Asian Artist Fellowship Grant & N.J. KAGIKAN Exhibition • 16 kunstwerken
Bekijk allesVerkochte kunstwerken • 101 kunstwerken
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