Marcial

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Expect the Unexpected Two Man Art Exhibition Marcial Pontillas and Anoy Figueroa October 19,2012 6PM
at the INFINITI Art Gallery Nissan Showroom Upper Tumon

On June 2, GTA TeleGuam presents GAX for FestPac, featuring special guest street artists Charles and Janine Williams TMD of New Zealand.

The two-week long exhibit features some 30 artists, from all corners of the island, pushing their own boundaries in their work.

The Guam Art eXhibit announces a new exhibit, “GAX: The Portrait.” This intimate show will feature works based on the theme of portraits and looks to feature Guam’s new and emerging artists, according to a news release.

The smaller show still will perpetuate the GAX mission to develop a community that explores local art through unconventional ideas and unique visual outlooks that blur the line between traditional and contemporary.

The exhibit will host several events throughout its three-week run, allowing the community to participate and see the arts in action.

Opening Night for “GAX: The Portrait” is set for 7 p.m. Aug. 13 at The Agana Shopping Center. Admission is free.

Submissions are currently being taken. Deadline for submissions is July 22.

Information was provided in a news release.

Complementing one of the biggest cultural festivals the island has ever thrown, the Guam Art Exhibit returns to its roots in Tumon, welcoming residents and all guests from this week’s Festival of Pacific Arts.

On June 2, GTA TeleGuam presents GAX for FestPac, featuring special guest street artists Charles and Janine Williams TMD of New Zealand.

The two-week long exhibit features some 30 artists, from all corners of the island, pushing their own boundaries in their work.

And that’s what makes GAX different from other exhibits, coordinator Myracle Mugol says.

“We look at the bridge and the connection between traditional and contemporary art,” she says. “It’s not one or the other.”


Urban graffiti and pop art fit naturally alongside cultural art, including work from Chamorro artist Alejandro Lizama.

GAX also reaches into the depths of the island’s creative community, to sniff out bold, new work.


"The biggest thing that we champion is that it’s not a style, and I don’t want people to have the misunderstanding that we’re only looking for young, cool and modern because that’s not it,” Josh Agerstrand, GAX director, says. “We’re looking to showcase new artists and every year we usually get about five to 10 never exhibited, never seen artists who’ve been hiding in their garage, or hiding in their house, and maybe didn’t have the confidence to submit — and that’s what we’re always trying to find.”

While there’s no theme for this year’s show, the one limit placed is on common tropes of cultural artwork. GAX avoids paintings of flowers, photos of sunsets and landscapes because there’s already so much of it, Agerstrand says.

“That rule isn’t supposed to be inhibiting because there’s always going to be a place for that stuff,” he says. “When we say no to that, it makes the artists open their mind. We’re just trying to make people discover themselves and their own thoughts.”


The GAX opening night will feature live art that spills out onto the roadside walkways of The Plaza, trailing you into the second floor exhibit. Expect other events daily, including spoken word events, more live art and a possible film night.

One of the biggest highlights comes in the form of visiting FestPac delegates known for their urban Pacific and contemporary work.

The TMD (The Most Dedicated) couple often concentrates on murals displaying vibrant native birds of their country.

The couple will paint a mural of Guam’s endangered Micronesian kingfisher known as a sihek on the south wall of The Plaza.

“We’re trying to invite all our visiting FestPac delegates to come over and see this side of Guam’s artwork,” Agerstrand says. “We have a lot of young artists and we want to expose them to all of these awesome, amazing and creative delegates from FestPac.”

NOVA Gallery Manila invites you to an exhibit and a live performance to depict Recto as a place for almost everything. When we hear of the place Recto, we would automatically think that it is where works are plagiarized or fabricated for a student who requests for such to get a passing grade. It is also a place where activists meet and show their opposition to the government or its agencies. It is where multitude of students is found. It is, of course, part of Manila that has busy streets around. It may be considered to be one of the noisiest places in Manila. Artists will meet on the date of this event to showcase Recto.


Location: Metro Manila
Venue: NOVA Gallery Manila Warehouse 12A, La Fuerza Compound 2241 Don Chino Roces, Makati
Date: From March 19, 2016 to March 19, 2016
Time: 6:00 pm

In Celebrating Philippines Independence 2016 at McKinley Hill Taguig.

Newport City welcomed the Philippines Independence month of June by hosting Freedom of Expression, a visual art exhibit which celebrated contemporary Filipino arts. Held in partnership with Kulay-Diwa Gallery of Contemporary Art, the exhibit showcased brilliant works, notably by Andres Barrioquinto, a surrealist painter whose works are found in the Singapore Art Museum and were successfully auctioned at Sotheby’s in Hong Kong; Ernest Concepcion, a 2015 CCP awardee; and Raimundo Folch, a Filipino-Spanish sculptor who won the prestigious 2011 Baumel-Schwenck Grand Prize at the Salon de Carousel in Paris.
IMG_7405
Other artists who participated in the exhibit include Joseph Tecson, Jason Tecson, Raymond Kawataki Go, Henri Cainglet, Francisco Viri, MM Yu, Pow Martinez, Jay Iwayan, Marrz Capanang, Kris Abrigo, John Paul Dalisay, Michelle Tan, Franz Marion Vocalan, Aaron Bautista, Bembol dela Cruz, Michael Vincent Manalo, Gao Regaza, Miguel Beltran, Martina Manalo, Gromyko Semper, Marcel Antonio, Jerson Samson, Eugenio Cubillo II, Camille dela Rosa, Jojo Lofranco, Jose Ibay, Raul Jarolan, Christopher Zamora, Israel Remo, Adrian Jay Manuel, Ritchie Yee, Demi Padua, Monnar Baldemor, Karen de Pano, Picadizo Valen Valero, Van Tuico, Adam Nacianceno, Ferdinand Doctolero, Alexander Moscoso, Marcial Pontilla, James Imperial, Don Bunag, Wilbert Custodio, Michael Bacol, Carlos Saavedra, Ian Quirante, Jecky Alano, Caloy Gernale, Pedro Garcia, Fernando Modesto, Whoop Julius Villarete and Wipoosana Supanakom.

It’s pointless to box Marcial Pontillas into a single category when it comes to the strokes he puts on canvas.

As a multi-award-winning painter from the Philippines, he’s been described as everything from an impressionist to neo-expressionist.

His work has been seen all over the globe because that’s where art has taken him.

And most recently, he’s planted his feet in Guam, slowly showcasing the range of his art at a variety of exhibitions.

The Guam Art Exhibit, for example, is an event that speaks to artists like Pontillas.

“It brings out your alter ego,” he says of GAX. Soon, he’ll be putting on a one-man show with the help of production team Project Inspire to showcase his current collection.

Dubbed the “crowd painter,” for his massive scenes of humanity squeezed together on canvas, Pontillas most definitely has an alter ego, one that dabbles in the abstract.

His award-winning crowd paintings stretch back to some of his earliest work done in the 1990s while a student at Far Eastern University in Manila, Philippines.

“I hate crowds,” the 40-year-old Dededo resident says.



A 2009 oil on canvas painting by artist Marcial Pontillas entitled, "I'm Looking At You" as seen in Hagåtña on Thursday, Aug. 11. (Photo: Rick Cruz/PDN)

Pontillas originally is from the quiet Bicol province and moved to Manila to pursue art at Far Eastern University. Unlike sleepy Bicol, Manila is bustling with activity. While at a busy overpass, inspiration struck him.

“I can see the traffic from rush hour,” he recalls. “The concept, this traffic, is going to be my subject.”

The oil 30x30 inch “Sobra Na!” was the first time he had depicted a sea of people in his work, drawing from the busy image in his head and exaggerating it with more people sandwiched together and stretched along the canvas.

The work won first place and was printed in the 1996 PLDT-DPC Telephone Directory.

“That was the start,” he says. “I didn’t know my painting would take first place. My teacher, my mentor said I have to continue this. You never know if it’s going to be your trademark.”

As a student, Pontillas won year after year with additional work depicting different chaotic scenes of clustered bodies.

After he graduated, he continued teaching at the very same school he developed his trade, for a decade.

Much of his large format, crowd work continued when he moved to Guam in 2011.

His first piece upon touchdown is “Hafa adai,” no bodies included in the details. Instead, he painted a Philippine Airlines plane gliding over the island, marking his arrival.

The crowd painter, however, returned, with large format pieces that have made multiple appearances at GAX exhibits.

(Story continues below.)



Artist Marcial Pontillas found inspiration at the Guam International Film Festival 2015 to paint this oil on canvas imagery as seen in Hagåtña on Thursday, Aug. 11. Pontillas simply entitled this creation, "GIFF." (Photo: Rick Cruz/PDN)

“Before, a portion of my early work there was a grid,” Pontillas explains. “I study again, how I’m thinking I’m going to make the grid zoom in and make it more visible in the background of my painting in the crowd. In the next series. The painting is over a crowd and the grid is over a crowd. I made a series with the grid. The idea from the crowd is like guessing what is happening inside the crowd.”

Take the piece “NK Nuclear Core High Explosive,” seen at this and last year’s GAX exhibitions.

In the background, Pontillas paints an image of soldiers in the midst of war from the movie “Hamburger Hill,” depicted from the infamous Vietnam-era battle.

Pontillas was inspired to paint the scene with a grid after North Korea had threatened to direct its missiles at Guam a couple of years ago.

“Once I got the background done, I wondered what I was going to put on top,” he says.

“The grid is a nuclear diagram. I put the hamburger as a plutonium. There’s a small round thing there and I replaced it, that’s the plutonium.”

It all starts to make sense when you see his other pieces, including “Food Stamp Madness.”

Pontillas takes another crowded scene and puts it on canvas, this time an image of a grocery store completely jammed with people.

“The grid is the inside of the birds eye view of the shopping and it’s crowded and I’m thinking it looks like panic buying,” he says. “It’s a chaos of shopping. When I put the grid down, zoom in, so it’s a shopping cart. Those are the people doing from the distance, they see the wheel, and some image. But it’s an empty shopping cart. The one holding that, came late, but it’s already full of people. You’re going to fill up your cart but it’s crowded and everyone’s cart is full but yours.”

The grid pattern atop of the painting is the lines of an empty shopping cart.

You can catch some of Pontillas’ work at different coffee shops and stores across the island, and look forward to next year’s GAX where he plans on expanding his artwork into the three-dimensional abstract.

In the short six years since Marcial Pontillas moved to Guam, the artist’s paintings have appeared in several exhibitions, including multiple showcases at the Guam Art Exhibit.

Known as the “Crowd Drawer,” Pontillas often paints a series of crowded scenes, from hungry patrons elbow to elbow in a grocery store, to thousands worshiping at a church.

Painting crowds was a trademark that was born in the Philippines while he was studying art at Far Eastern University in Manila.

“From high school, I was always interested in joining art competitions like poster contests, and I moved to Far Eastern University because there were a lot of contests,” he says. “I was really excited when I started to join these contests and began winning on the spot from my first year.”

In a way, art is in his blood, from his father who works as a draftsman to his brother who also is in architecture.

The visual expression he studied came in the form of classes around his advertising degree, since there wasn’t a major dedicated to fine arts in FEU.

Crowd series

The sight of a busy overpass in Manila was something nearly foreign to him as he began his studies.

“I hate crowds,” the 40-year-old Dededo resident says.

That’s because he’s originally from the sleepy region of Bicol where he didn’t have to battle the hours of human and traffic congestion the way he did in Manila.

But the inspiration has paid off.

“Sobra Na!” was where it got started, a depiction of a sea of people crowded along an overpass and the surrounding area below.

The oil painting was exaggerated from the scene in which he originally witnessed, stretching the clustered bodies along the expanse of the canvas.

“That was the start,” he says. “I didn’t know my painting would take first place. My teacher, my mentor said I have to continue this. You never know if it’s going to be your trademark.”

As a student in Far Eastern University, art was opening doors for the painter, with wins that began with the Shell National Students Art Competition to the cover of the 1996 PLDT-DPC Telephone Directory.

After winning and placing in more than a dozen art competitions, the student turned into teacher and Pontillas began to give back to the university where he learned to perfect his craft.

He taught for 10 years before moving to Guam in 2011 after his petition was granted. His wife and child, however still reside in Manila while his wife works and completes her education.

So far, he’s welcomed the move to Guam, expanding on the crowd series he’s been known for and exploring the vast reaches as a contemporary neo-expressionist.

From his crowd scenes to his abstract work, Pontillas works in layers, adding strata of story or explanation behind each stroke.

A few of his paintings have the addition of large grids placed over it, grids that seem to puzzle upon first view.

One example was a piece originally entitled “Hagåtña Cathedral,” offering a panoramic view of Guam’s capital city with the church in full view.

“I conceptualized it before and then after the museum was built,” he says.

Over the Hagåtña scene, a grid offers the basic outline of the new museum built across the Plaza de España.

As his collection grows, he is currently working with members of production team Project Inspire to put together a solo showcase before the end of the year.

It’s pointless to box Marcial Pontillas into a single category when it comes to the strokes he puts on canvas.

As a multi-award-winning painter from the Philippines, he’s been described as everything from an impressionist to neo-expressionist.

His work has been seen all over the globe because that’s where art has taken him.

And most recently, he’s planted his feet in Guam, slowly showcasing the range of his art at a variety of exhibitions.

The Guam Art Exhibit, for example, is an event that speaks to artists like Pontillas.

“It brings out your alter ego,” he says of GAX. Soon, he’ll be putting on a one-man show with the help of production team Project Inspire to showcase his current collection.

Dubbed the “crowd painter,” for his massive scenes of humanity squeezed together on canvas, Pontillas most definitely has an alter ego, one that dabbles in the abstract.

His award-winning crowd paintings stretch back to some of his earliest work done in the 1990s while a student at Far Eastern University in Manila, Philippines.

“I hate crowds,” the 40-year-old Dededo resident says.

A 2009 oil on canvas painting by artist Marcial Pontillas entitled, "I'm Looking At You" as seen in Hagåtña on Thursday, Aug. 11. (Photo: Rick Cruz/PDN)

Pontillas originally is from the quiet Bicol province and moved to Manila to pursue art at Far Eastern University. Unlike sleepy Bicol, Manila is bustling with activity. While at a busy overpass, inspiration struck him.

“I can see the traffic from rush hour,” he recalls. “The concept, this traffic, is going to be my subject.”

The oil 30x30 inch “Sobra Na!” was the first time he had depicted a sea of people in his work, drawing from the busy image in his head and exaggerating it with more people sandwiched together and stretched along the canvas.

The work won first place and was printed in the 1996 PLDT-DPC Telephone Directory.

“That was the start,” he says. “I didn’t know my painting would take first place. My teacher, my mentor said I have to continue this. You never know if it’s going to be your trademark.”

As a student, Pontillas won year after year with additional work depicting different chaotic scenes of clustered bodies.

After he graduated, he continued teaching at the very same school he developed his trade, for a decade.

Much of his large format, crowd work continued when he moved to Guam in 2011.

His first piece upon touchdown is “Hafa adai,” no bodies included in the details. Instead, he painted a Philippine Airlines plane gliding over the island, marking his arrival.

The crowd painter, however, returned, with large format pieces that have made multiple appearances at GAX exhibits.

(Story continues below.)

Artist Marcial Pontillas found inspiration at the Guam International Film Festival 2015 to paint this oil on canvas imagery as seen in Hagåtña on Thursday, Aug. 11. Pontillas simply entitled this creation, "GIFF." (Photo: Rick Cruz/PDN)

“Before, a portion of my early work there was a grid,” Pontillas explains. “I study again, how I’m thinking I’m going to make the grid zoom in and make it more visible in the background of my painting in the crowd. In the next series. The painting is over a crowd and the grid is over a crowd. I made a series with the grid. The idea from the crowd is like guessing what is happening inside the crowd.”

Take the piece “NK Nuclear Core High Explosive,” seen at this and last year’s GAX exhibitions.

In the background, Pontillas paints an image of soldiers in the midst of war from the movie “Hamburger Hill,” depicted from the infamous Vietnam-era battle.

Pontillas was inspired to paint the scene with a grid after North Korea had threatened to direct its missiles at Guam a couple of years ago.

“Once I got the background done, I wondered what I was going to put on top,” he says.

“The grid is a nuclear diagram. I put the hamburger as a plutonium. There’s a small round thing there and I replaced it, that’s the plutonium.”

It all starts to make sense when you see his other pieces, including “Food Stamp Madness.”

Pontillas takes another crowded scene and puts it on canvas, this time an image of a grocery store completely jammed with people.

“The grid is the inside of the birds eye view of the shopping and it’s crowded and I’m thinking it looks like panic buying,” he says. “It’s a chaos of shopping. When I put the grid down, zoom in, so it’s a shopping cart. Those are the people doing from the distance, they see the wheel, and some image. But it’s an empty shopping cart. The one holding that, came late, but it’s already full of people. You’re going to fill up your cart but it’s crowded and everyone’s cart is full but yours.”

The grid pattern atop of the painting is the lines of an empty shopping cart.

You can catch some of Pontillas’ work at different coffee shops and stores across the island, and look forward to next year’s GAX where he plans on expanding his artwork into the three-dimensional abstract.

http://www.guampdn.com/story/entertainment/pika-magazine/2016/08/31/pontillas-neo-expressionism-captivates-dabbles-abstract/88816728/

In the short six years since Marcial Pontillas moved to Guam, the artist’s paintings have appeared in several exhibitions, including multiple showcases at the Guam Art Exhibit.

Known as the “Crowd Drawer,” Pontillas often paints a series of crowded scenes, from hungry patrons elbow to elbow in a grocery store, to thousands worshiping at a church.

Painting crowds was a trademark that was born in the Philippines while he was studying art at Far Eastern University in Manila.

“From high school, I was always interested in joining art competitions like poster contests, and I moved to Far Eastern University because there were a lot of contests,” he says. “I was really excited when I started to join these contests and began winning on the spot from my first year.”

In a way, art is in his blood, from his father who works as a draftsman to his brother who also is in architecture.

The visual expression he studied came in the form of classes around his advertising degree, since there wasn’t a major dedicated to fine arts in FEU.

Crowd series

The sight of a busy overpass in Manila was something nearly foreign to him as he began his studies.

“I hate crowds,” the 40-year-old Dededo resident says.

That’s because he’s originally from the sleepy region of Bicol where he didn’t have to battle the hours of human and traffic congestion the way he did in Manila.

But the inspiration has paid off.

“Sobra Na!” was where it got started, a depiction of a sea of people crowded along an overpass and the surrounding area below.

The oil painting was exaggerated from the scene in which he originally witnessed, stretching the clustered bodies along the expanse of the canvas.

“That was the start,” he says. “I didn’t know my painting would take first place. My teacher, my mentor said I have to continue this. You never know if it’s going to be your trademark.”

As a student in Far Eastern University, art was opening doors for the painter, with wins that began with the Shell National Students Art Competition to the cover of the 1996 PLDT-DPC Telephone Directory.

After winning and placing in more than a dozen art competitions, the student turned into teacher and Pontillas began to give back to the university where he learned to perfect his craft.

He taught for 10 years before moving to Guam in 2011 after his petition was granted. His wife and child, however still reside in Manila while his wife works and completes her education.

So far, he’s welcomed the move to Guam, expanding on the crowd series he’s been known for and exploring the vast reaches as a contemporary neo-expressionist.

From his crowd scenes to his abstract work, Pontillas works in layers, adding strata of story or explanation behind each stroke.

A few of his paintings have the addition of large grids placed over it, grids that seem to puzzle upon first view.

One example was a piece originally entitled “Hagåtña Cathedral,” offering a panoramic view of Guam’s capital city with the church in full view.

“I conceptualized it before and then after the museum was built,” he says.

Over the Hagåtña scene, a grid offers the basic outline of the new museum built across the Plaza de España.

As his collection grows, he is currently working with members of production team Project Inspire to put together a solo showcase before the end of the year.

http://www.guampdn.com/story/news/local/bayanihan/2016/08/27/pontillas-draws-influence-crowded-manila/88816894/

Precarious





Paintings by Marcial Pontillas




News::

Auction Highlights

Marcial Pontillas




Multi-awarded Filipino artist Marcial Pontillas painting Precarious, an oil measuring 167 x 144cm will be on the auction block of Larasati Auctioneers on Aug. 2010. Having spent a considerable amount of time finishing the details of this work, the artist will now concentrate on his coming solo show at Momentous Arts. Last year his debut work at the auction was successfully sold despite a lacklustre market. Watch out for more exciting news on this young artist. For more information on his works, please contact Momentous Arts.