Michael Cacnio's 'everyJuan'
By Jessica Jalandoni-Robillos Inquirer MANILA, Philippines--For 15 years now, TOYM (The Outstanding Young Men) Philippines 2006 awardee Michael Cacnio has been steadily depicting the good and the wholesome: Filipino values of strong family ties; respect for elders; hardy labor and simple pleasures. The photo shows Ambassador Cristina G. Ortega and the director general for external relations of the European Commission (EC) Eneko Landaburu (second from left) flanked by Michael and Ma. Theresa Cacnio during the vernissage-cocktail reception for the artist at Berlaymont building of the EC on Sept. 18. Cacnio graduated from University of the Philippines in 1991 with a degree in Fine Arts. He experimented with brass at a time when it was not a popular medium. Upon deciding he was comfortable with his cut-and-solder method as opposed to molding, he began presenting depictions of children playing traditional Filipino games such as sungka, luksong baka and tirador, inspired by his own childhood in Malabon; and his series of vendors, among them the magtataho and sorbetero. He has also become known for poignant parent-and-child renditions -- so-called âKodakâ moments captured in brass. Most popular are his kite-flyers, which are still in demand, with the bobbing brass lines also featured in his fishing pieces. As he neared his 15th year in the art scene, Cacnio began to include less-than-sunny aspects of the Filipinoâs life and persona, a turn deemed natural by art critic Lito Zulueta: âIt seems only a matter of time for the young sculptor to turn to social criticism; his earlier works for which he has won acclaim are scenes of folksy idyll and bucolic romance. They basically betray the artistâs romantic temperament: a pining for things either vanishing or gone, a betrayal of panic as change and debasement become inevitable. âThe romantic feeling, of course, hides an undercurrent of anger for the despoliation of nature; itâs noble anger at the disappearance of noble savagery. So it is just a matter of time for Cacnio to turn his art into a mordant piece of social protest.â That Cacnio has graduated to a more socially aware phase in his art does not affect his rustic scenes. In the same way that these works have won critical acclaim and have been showcased in sold-out exhibits here, the United States, Canada and Singapore, the newest additions are just as well-received and have earned good reviews. The social commentary actually complements his earlier works. The works from the two phases become a testament to the evolution of the artist without jarring changes. His Giacometti-inspired elongated figures are constant; Filipiniana garb is still hinted at, if not totally evident; and always, even when fueled by protest, the works bear a distinct countenance which encourages enlightenment rather than stirrings of dissent. After his sold-out exhibit at the Philippine Center in New York in July, Cacnio now presents âPhilippine Perspectives,â a body of work showcased at the EC Berlaymont Building in Brussels, Belgium, as part of the 30th anniversary celebration of Asean-EU relations. Comprehensive Cacnioâs current collection is very much similar to that which he presented in New York. It is also a comprehensive range of sculptures that spotlights his skill at rendering angst-free artworks-with-a-conscience. The collection may be considered complete in that it showcases his well-loved traditional pieces and other subjects that may elicit nostalgia from the Filipino community abroad. Cacnio renders with amusing detail a jumble of shanties; a cockfight; a beer bottle-clutching man almost sprawled on a bench; a father of three on the phone, presumably taking an overseas call from his OFW wife, who has sent home the newly opened balikbayan box. In all of these scenes, Cacnio subtly tackles issues of poverty, gambling and vices, and maybe even the brain drain. And yet, rather than perceive the images with gloom, it is almost certain that audiences will be won over more by the memories of home. This way, Cacnio is able to summarize a Filipino mind-set: that of resilience, making do and even being merry despite the most grueling of circumstances, and coping by seeing the lighter aspect of things. The artistâs wishes are simple enough: âI pray to be identified as the Filipino sculptor who has contributed to the preservation of the Philippine heritage, who is respected by fellow artists, and who believes it is through Godâs Providence that I am able to create my own sculptures.â The artist focuses more on the bright side however biting his social commentary. It is commentary that invites both sympathy and empathy, and though the psychosocial bearings may breach borders and race, it is especially understood by his fellow Filipinos because it seems Cacnio has made a way for âeveryJuanâ to be somehow synonymous to âeveryone.â Send comments to firstname.lastname@example.org Photo courtesy of the Philippine Daily Inquirer
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