Monday, March 02, 1998 04:41:38 AM
INDAY CADAPAN: THE TWO FACES OF ART
By: Alice G. Guillermo
Spontaneous and joyful creativity is the essence of Elsie”Inday” Cadapan’s art. She recalls that even as a young girl growing up in Bayawan, Negros Oriental, she already experimented with materials to do painting and sculpture. Her interest and love for art was awakened by her mother who was an art lover herself. In her artistic development, art has become an anchor in life, a source of intense happiness and pleasure, as it is also the expression of her sensitivity to the life about her and the world.
She works in her studio residence in Antipolo where she enjoys living in a large community of artists with whom she has fruitful exchanges in painting, sculpture even ceramics. An important part of her access to materials comes from her having been an antique dealer for many years up to now. In the 1970’s she had an antique shop at Mabini and a decade later she transferred to Makati at the Atrium. In the first place, it was her appreciation of things beautiful that made her go into the antiques trade in which she is surrounded daily by various treasures of art from old violins to 19th century classical paintings of the Acadamia. She assiduously pursued knowledge by reading and researching on art up to the point that she took up the challenge of making her own artworks. She thrived on beautiful art books of European art in which she poured over the
old masters as well as the artists of the school of Paris. Especially Picasso and Matisse who have inspired and influenced her work. She was taken up with the expressiveness of Picasso’s cubism and with Matisse’s harmonies and spontaneity in the handling of figures. Largely self-thought, she is continually seeking to develop her own idiom within the context of Philippine society.
Inday Cadapan’s creative intuition has led her to work in many different forms. In painting, sculpture, installations, ceramics, and paper mache. She has done paintings of still life’s, landscapes and human figures in acrylic and watercolor. At times, they posses depth and mystery in their use of color and chiaroscuro; more often, they are lighthearted, with a flesh childlike quality, never formal but whimsical and delightfully charming. Her painting spills over ceramics in which she has painted lively and colorful designs on decorative plates. Her creative energy has also been expressed in paper mache animals, such as the familiar carabao which underwent numerous variations in design and color.
Complementing her paintings are her sculptures carved from strong Philippine hardwood, such as narra and molave in their related figurative style of sinuous and fluid forms bringing to advantage the natural properties and distinctive features of the wood. She has done both tables and sculptures and large –scale works. An example of large scale work is her large-scale sculptural composition entitled “People Power” found in the outer lobby of the GSIS building in Pasay City. An installation which was part of the 1999 exhibit of the Society of the Philippine Sculptors at the Makati Greenbelt park also has the same title.
It is important to take note of the fact that Inday Cadapan’s work has on the whole been consciously related to the time in which they were produced. During the Marcos years, her acrylic paintings had an intense smoldering mood in the use of strong colors and tonal contrasts. In an expressionistic style, she conveyed the conflicts in society and portrayed the dramatic personae of national politics in a satirical vein. In the transition from the Marcos regime to the Aquino government, she was engaged in the theme of “People Power” in the burst of freedom that found vivid public expressions in the brief period of Aquino’s “democratic space”. There are at least two large works which take up this theme. The first is the sculptural composition, “People Power” at the GSIS main building in Pasay City. Made of numerous lengths of narra and molave salvaged from 19th century houses, they rise from a base in different heights like a multitude of figures conveying attitudes of affirmation, aspiration and celebration. The vertical forms, irregular because of their organic quality, are embellished with various symbols in bronze and copper, like small banners expressing lone and country. They are also like voices struggling to be heard and at the same time reveling in their freedom to speak and gather together in a public manifestation of collective power. The subject is once more taken up but in a entirely different approach in Inday Cadapan’s installation in Greenbelt part. Here, on a grassy lawn, a gathering of hands rises from the ground with their palms open. But what has People Power become? The hands now seem to be sinking into a swamp as they call for succor. They seem to have been betrayed by traditional wielders of power in a national situation which has not changed. While these two works show the artist’s political concern and her strongly democratic orientation, these two examples also show the workings of the artist’s creativity which is able to create two entirely different works in a common theme.
For Inday, art has two faces which are complementary to each other. On one hand, there is the sheer delight in nature and the cultural objects of one’s environment: the vibrant floral bouquets that evoke fragrance and well-being, the coquettish faces that are lively with feeling; the windows opening out into the sunny gardens. Her still lifes evoke a cultural environment, a sense which has grown out of her long familiarity with antiques, as in the glass lamps and accessories. At the same time, they convey an enduring love of nature as in the artist’s personal nurturing of plants. The figures and faces of women have a bright, sprightly quality that is always young, again growing out of the Inday’s youthful disposition despite personal adversities. Color plays a great part in these works and line is sure as well as playful. The artist is not hampered by self-consciousness, but is buoyed up by the spirit of spontaneity and play.
On the other hand, there is the intense desire on the part of the artist to convey her emotional engagement, sympathy for people and real concern for the conditions of life of the majority, even a pained rage for what she perceives as the callousness and pure self-interest of those in authority. This is the other aspect of her artistic personality: herself as a female warrior who expresses her love for country and people in art. She considers many of the present social problems, like the war in Mindanao, as a failure of governance and a breakdown of communication and understanding. Her social concerns have been expressed in her art in several painting series she did during the Marcos regime and the beginning of the Aquino government. Deeply moved by the plight of the people of Mindanao, she plans her next series to be along this line as a form of active participation in the public expression of the sentiments of progressive Filipinos.
This social concern is also seen in the workshop for the youth that Inday Cadapan has held in her Antipolo studio. In one project, her organization, the Rizal Artists, was able to invite students from many high schools from neighboring towns in Rizal to participate in paper mache painting with free materials. They turned out many variations on the carabao in terms of design and color. The subject of the carabao was chosen as a symbol of production, particularly of basic agricultural production by the basic masses which supports the entire society. Because of such projects as these, Inday Cadapan, in her devotion to art, can serve as an example for the youth in search of direction.
Inday Cadapan reveals the two faces of art: art as pleasure and comfort for the soul and art as the nationalist expression of the desire for social change towards peace and justice for all.
| Heart in the Art of Inday Cadapan by Karen GalarpeInday Cadapan's works are driven by a perpetual stage of agitation. The artist, after all, is bent on informing th public about the various dilemmas besieging the modern Filipina--from prostitution to political issues. Her canvas is a pageantry of imperfect women who have experienced and survived the challenges of an era rife with upheavals both
| ART in the HEART of Inday CadapanWhen Inday found out that she had 6 months to live, she picked up her brush and expressed herself in bright colors. After 13 years she was in full circle painting a piece of heaven.....
ART in the Heart of Inday Cadapan
Inday's works are driven by perpetual stage of agitation. The artist after all, is bent on informing the public about the various dilemmas besieging the modern Filipina--from prostitutuion to political issues. Her canvas is a pageantry of imperfect women who have experience and survived the challenges of an ear rife with upheavals both personal and global.
"As an artist, I am bound by my calling to awake the public awareness of our social and political issues and how these affect the Filipina today." says Cadapan.
But rather than present this in a realistic manner, Cadapan's paintings are redolent with brilliant, unblinking hues and images that are twisted in form and configuration. Her women, it seems have been maimed but standing still. This mix of colors and figures make Cadapan's works truly awe-inspiritng and to an extend, disturbing. "ART," reasons Cadapan, " should act as catalyst for people to take action. It should take them think and feel: ultimately, it should inspire them to change the world into a better place, no matter how romantic that might seem."
Elsie INDAY Reyes CADAPAN
12 September 1939 - 7 January 2004
Barrio Consuelo, Macabebe, Pampanga, Philippines
Foundation University, Dumaguete City, Philippines
Secretarial Course, Siliman University, Dumaguete City, Philippines
ONE WOMAN EXHIBITS
2005 Gallery 139, Glorietta 4 2004 Urban Effects, Glorietta 4 2003 Alliance Francaise de Manille 2001 Gallery 139. Megamall, UST Museum, Manila, Luna Pizzeria & Tapas Bar, Malate, Trionfi Cafe Arte, Herald Suites Makati, Artscape Gallery, Shangrila Plaza EDSA, 2000 Jacques' Art, Music & Bistro, Quezon City
Art Gallery Philippines, Art Space, Glorietta IV, Batavia Cafe, Malate Manila, 1999 Library Gallery, La Salle Taft, The Ayala Museum, Art Gallery Philippines, Glorieta 4, Marche Pearl Plaza, Ortigas Center, Pasig,
Scribe & Brewer 5F Shangri-la Plaza EDSA, 1998 Fat Willy's, The Fort Makati, Alliance Francaise de Manille, Makati City, Cafe Museo, Ayala Museum, Matina Bistro Bar, Galleria de las Islas Intramuros, Holiday Inn Manila, Twisted Sun Gallery, Manila, 1997 GSIS Museo ng Sining, Pasay City, 1995 Madrigal Center, Ayala Alabang, 1994 Lopez Museum, Pasig City, 1986 City Gallery, Manila
2004 The Podium 5f “Farewell Inday”, Gallery 139 2003 Philamlife Bldg., Far East Broadcasting Co., 2002 Philtrade Center, Roxas Blvd.,Astoria Plaza, “An Expression of Mutual Dependence”, 2001 SSS Group Exhibit, Quezon City, The Enterprise Center, w/ Rogelio Guarico, 2000 Galeria I w/ Remy Boquiren, Bulwagang Rizal,UP Dilliman Q.C., “Beyond Words” w/ Remy Boquiren, Gallery 139, Megamall, 1999 Art Scape Gallery, Shagri-la, Mandaluyong City, “Pasasalamat - Crossroad 77”, Christian Artists, Greenbelt Garden Ayala Center, Sculptors' Society, Department of Tourism Liongoren Art Gallery, Cubao QC 1998 Ayala Museum, Makati City Alliance Francaise de Manille, Makati City, Greenbelt Garden, Makati City, PNB Roxas Blvd., Pasay City, Galleria de las Islas, The Flower Farm, Tagaytay City, 100 Artists of the Philippines,Cultural Center of the Philippines, Manila, National Commission on Culture and Arts, Intramuros, Manila, Liongoren Gallery, Cubao Quezon City “Walong Filipina”, 1997 Manila Hotel, Sta. Lucia Commercial Center, Cainta, Rizal, 1995 Contreras Gallery, Megamall, NCCA Art Manila '95, Intramuros, 1994 Liongoren Art Gallery, Megamall, 1990 COD, Cubao Quezon City, Philamlife Building, Mabini Manila
2003 The Hamiling Bayawanon Award in Culture & Arts, Bayawan Negros Oriental, 1999 Golden Jubilee Award Cultural & Visual Arts, Foundation University Dumaguete City, 1998 Philip Morris Art Contest Finalist Top 50, 1997 Juror's Choice-Sculpture, NCCA Manila, 1987 First Prize Higante Contest, CCP Manila
Antipolo Thursday Group, Art Association of the Philippines, Society of Philippine Sculptors
Gen. Luna St., Villa Carmen Subd., City of Antipolo 1870, Philippines TELEPHONE (632) 697.1096
MOBILE 0917.792.9020 E-MAIL: firstname.lastname@example.org
HEART in the ART of Inday Cadapan;
For a novice among exhibiting artists, Inday Reyes Cadapan manage to regale her viewers with technical versatility in painting and sculpture. A self-taught artist she possesses the courage (or call it temerity) and single-minded purpose in eschewing any changes in style since the days of Picasso and Matisse.;
The spirit of Picasso animates the picture or a serene-looking woman in the throes of giving birth in the nearly-monochromatic study in grey “Woman’s Agony” 1985. The simply-composed “Gratitude”1981, which depicts an other-worldly scene of two white bodied extraterrestrials engrossed in lively dialogue while leaning against a brown wall under cerulean skies, exudes a discernible Mattisean ambieance.;
Basking innocent joy and unconstrained intuitive esthetics, Inday gathered in her witty works the naivéte and power of folk art and grafted them to the coloristic strengths and visual sophistication of Cubism and figurative Expressionism. In looking at object and human models, Inday instinctively and mentally fragmentizes their form, picking out appealing shapes and then assembles them upon a flat pictorial space, into new and intimate conglomerations of colored areas bounded by lines that move with spontaneous grace. Fragments from male and female human anatomies, animals, fishes and birds are fused with masks and batibot (metal-backed chairs) to form jolting juxtapositions.;
Vivid colors are laid upon the jigsaw-puzzle combinations of image-fragments in untrammeled expressiveness, revealing the artist’s desire to give full reins to her feminine emotions and temperament. The results may be charming, as in “Moon Dance” 1985, or violently disturbing as in “Stampede” 1986. The psychedelic colors of “Divisoria” 1985 enliven a gripping interpretation of that teeming commercial jungle in jumbled fragmented images of men and beasts, hinting that some force in their psyche drives them into nightmarish confusion.;
In her mergers of man and beast, Inday many have his upon a wellspring of them about: his origin, his future and most important, his eternal soul. These are thoughts which are stirring in the least and ominous at the most. In this respect, “The Search” 1985, another grey symphony, is a culminating thesis of Inday’s personal pursuit for truths in her complex psyche; here are gathered the motifs of man, beast, batibot and mask, all imbued with rich symbolisms of dreams and nightmares. In a change of pace, Inday painted portraits ranging from the unrecognizable face of a hat wearing girl holding a pair of doves, in “Peace” 1985 to the engaging visage, stylized but close-to-the-original, of a brown woman with wild flaring hair, in “Impossible” 1985. Another series of portraits incorporates fabric collage in delineating parts of the face initially, as in “Peace Campaign” 1984 but later in the full-length portraits, on ly the clothes of the picture personages, like “Ate Laylay” 1985. The revered stature of the “Ate Laylay” in the family and in the community is disclosed discreetly in the way this matron’s picture fills almost the whole pictorial space.;
The use of fabric collage is an idiom which Inday shares with other contemporary women painters. Perhaps, their playing with dolls during their childhood leaves some imprint in their subconscious. The series of wood relief is weakened by the failure to highlight the interesting design of the wooden backrest of chairs; instead Inday completely covered them to oblivion—sayang. The sculptural aspect of the exhibit suffered in comparison to the paintings and collages. Although inventive and inspired constructions form ordinary household Objects, the sculptures failed to compete effectively with the more attractive paintings. ;
As a start for an artistic career, this initial exhibit by Inday is no less propitious than those of other artists who have gone far in the Philippine art world. No dought these successful artists are saying to her: “Welcome to the club”.
Elsie Inday Reyes-Cadapan 12 September 1939 - 7 January 2004
Education Secretarial course Siliman University Dumaguete City, Philippines
One Woman Exhibit (25 shows) Alliance Francaise de Manille, Ayala Museum (Manila), GSIS Museo ng Sining,Lopez Museum, Gallery 139, Art Gallery Philippines, Artscape Gallery, La Salle Manila
Group Exhibits (30 shows)
Awards 2003 The Hamiling Bayawanon Award in Culture & Arts 1999 Golden Jubilee Award Cultural & Visual Arts, Foundation University Dumaguete City 1998 Philip Morris Art Contest Top 50 Finalist 1997 Jurors' Choice, National Commission for Culture & the Arts 1987 First Prize, Higante Contest for the 1st year anniversary celebration of Philippine People Power, Cultural Center of the Philippines
Member Antipolo Thursday Group, Art Association of the Philippines, Society of Philippine Sculptors
Inday Cadapan's Guestbook
|Let me introduce you....|
Elsie “Inday” Reyes-Cadapan’s art is raising subjective feelings above the objective observations. It reflects the artist’s state of mind rather than the reality of the external world. She favored the Fauvist style of bright colors but also added strong linear effects and hashes outlines.
Her binding outlines con.../...
(Inday Cadapan, 27 October 2006)