â€¢Vision-Petron

Transcription

â€¢Vision-Petron

P.16
Petron’s Journey
of Remembering,
Valuing and Loving
P.19
A Tapestry of
Styles through
the Years
P.25
Soul
Provider
P.31
The Re-enchantment
of Traditional Values
in Philippine Art
P.37
Visions of a
Disappearing
World
P.43
VP Malaysia
2015 VISION PETRON FOLIO
Published by
PETRON CORPORATION
In partnership with
Studio 5 Designs
Vision Petron FOLIO is an annual
publication of Petron Corporation on
Philippine culture published specifically
for the youth. Copyright© Petron
Corporation. All rights reserved. No part of
this publication may be reproduced in any
manner without the written permission of
the publisher. Opinions expressed in this
publication are the writers’ and are not
necessarily endorsed by the publisher.
Please send your comments or inquiries to
Vision Petron FOLIO, c/o Petron Marketing
Division, SMC-HOC 40, San Miguel
Avenue, Mandaluyong City or email us at
[email protected].
Do visit our website www.visionpetron.
com and like our Facebook page, Everyone’s
Vision Petron.
b
Felice Sta. Maria, culture exponent and awardwinning writer, writes about the journey of the contest
and how its annual themes have helped encourage
the youth into being proud to be Filipino. Themes
have encouraged research, an important aspect in the
development of the youth.
Fifteen years and thousands of entries after, unique
styles have emerged from the paintbrushes of young
artists. Carlomar Daoana, much acclaimed art critic,
exposes these styles and likens them into a rich tapestry
of colors and textures.
University of the Philippines art professor Rina Angela
Corpus in reviewing the paintings of Vision Petron
noticed the youth’s “re-enchantment with traditional
Philippine values” and its link to people, community and
nation. Deeply held values permeate the canvases of
the youth, evidence that these time-honored tenets are
present in their “memory, identity and lifeways.”
YEARS OF
VISION PETRON
Professor Lisa Ito writes about the inseparability of
nature and art. In her article, she confirms that Vision
Petron’s young winners understand that, as evidenced
in their artworks, photos and films, which underscore
their awareness of “the urgency of responding to a fast
disappearing world.”
From
the Editor
T
Jay Bautista writes about how art provides the soul with
pleasure and peace.
his is the time of year when we
bring to you FOLIO, the magazine
on Philippine arts and culture
specifically published for the
Philippine youth. Now on its 15th
year, FOLIO is where students
from all universities can read articles on art, culture, and
historical milestones and even of luminaries in the visual
field who have helped promote the Philippines as a land
of great talent.
FOLIO also honors Vision Petron’s grand prizewinners of
its four categories and features them and their works in
this issue. We are certain their talent and their visions of
kasiyahan, the theme for this year’s competition, will
awe you.
Finally, we leave you with an endearing thought
- one that Petron wishes its precious customers and
stakeholders – Have a Best Day!
In this issue, we celebrate the 15 years of Vision Petron
as a national student art competition which has
helped develop a new breed of visual artists through its
annual search for the best in four categories – painting,
photography, T-shirt graphics and video-making. Fifteen
winners who have made it into the main stream of art are
also featured, and hopefully will inspire others to follow
their passion and drive to be the artists that they have
always dreamed to be.
The Vision Petron Team
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15 Years of Fueling Creativity
contents
25
18
bulletin
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6
10
11
12
The day youth talent shone
When Vision Petron came to visit
Video-making for the serious
The best day was the last day
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Only a few are chosen
features
16
19
25
31
37
46
15 Artists who Transformed
the Face of Creativity
milestones
50
Fifteen Years of
Vision Petron
and Thousands of
Entries After
36
Petron’s Journey of Remembering,
Valuing and Loving
By Felice Prudente Sta. Maria
A Tapestry of Styles
through the Years
by Carlomar Arcangel Daoana
Soul Provider
by Jay Bautista
The Re-enchantment of Traditional
Values in Philippine Art
Rina Angela Corpus
Visions of a Disappearing World:
Connecting Ecology and Society
through Vision Petron’s Winning Works
by Lisa Ito
43
Vision Petron Malaysia
people
43
special section
56
76
Vision Petron 2015 Winners
Vision Petron 2015 Board of Judges
appendices
80
82
83
84
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List of Winners (2001-2014)
Vision Petron Awards
Vision Petron Schools (2011-2015)
Vision Petron Judges (2001-2014)
contributors
4. RINA ANGELA CORPUS is an
assistant professor at the University of the
Philippines’ Department of Art Studies where
she gained her BA Art Studies and MA Art
History. She has published two books about
dance and art, Defiant DaughtersDancing:
Three Independent Women Dance (2007) and
Dance and Other Slippages (2012). Her essays
on art and culture have appeared in Bulawan,
Transit, Diliman Review, Humanities Diliman
and Philippine Humanities Review, GMA
News Online and Rappler.
1. FELICE STA. MARIA is an awardwinning writer of Philippine history and culture.
She currently serves as trustee of the Philippine
National Museum and is Adviser to Ayala
Museum and Ginhawa Institute of Indigenous
Art. She has been our judge in the painting
category since Vision Petron’s inception.
5. LISA ITO teaches art history and theory
at the University of the Philippines College
of Fine Arts (UP CFA). She holds a degree
in Fine Arts (Art History) from the UP CFA
and is completing her master’s degree in art
studies. She co-authored Without Walls: A
Tour of Philippine Paintings at the Turn of
the Millennium (2010). She co-curated the
exhibition “Imaging Philippine Flora: 1877 to
the Present” at the Metropolitan Museum of
Manila last year.
2. CARLOMAR ARCANGEL DAOANA
is the inaugural winner of the Purita Kalaw
Ledesma Prize for Art Criticism of the Ateneo
Art Awards. He writes a regular arts and
culture column for The Philippine Star and
teaches Art Writing at the Ateneo de Manila
University. As a poet, he has published four
poetry collections: Marginal Bliss (UP Press,
2002), The Fashionista’s Book of Enlightenment
(DBW, 2009) and Clairvoyance (UST Publishing
House, 2011) and Loose Tongue: Poems 20012013 (UST Publishing House, 2011). He has
won the Carlos Palanca Memorial Awards for
Literature in the English Poetry category for his
collections, The Elegant Ghost (grand prize,
2012) and Crown for Maria (second prize,
2013). He recently won the Alice Guillermo
Award for Art Criticism for Metrobank Art and
Design Excellence 2015.
3. JAY BAUTISTA is Project Officer of Studio
5 Designs, which has served as Vision Petron
Secretariat since its inception. He has written
about Contemporary Philippine art and for
exhibition catalogues of young Filipino artists.
He has studied for masters in art history at the
University of the Philippines Diliman.
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bulletin
The day
youth
talent
shone
T
he ninth of October in 2014
was a day the young winners
of Vision Petron 14 will never
forget as nothing less than
the old Senate Hall of the
National Museum of the
Philippines, the place where many national events
occurred in the past, was the chosen venue for
their important event- the Vision Petron 14 Grand
Awards. Top officials of Petron led by its General
Manager Lubin Nepomuceno, and luminaries in the
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art field led by National Artist BenCab were on hand to
welcome the winners, their parents, deans of schools
and universities and friends. Keynote speaker for this
special event was super entrepreneur and TOYM
awardee Jay Aldeguer of Island Souvenirs, the famous
source of Philippine T-shirts showcasing the beauty of
Cebu. He shared with his young audience his journey
in marketing and promoting Cebu through the humble
T-shirt which he declared “has become the statement
of the youth today.”
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When Vision Petron
came to visit
T
he agenda was to
visit 23 schools
within a period
of 14 days. We
went as far north
as Vigan in Ilocos
Sur, Iloilo in the Visayas, and Davao in
Mindanao covering more than 2,900
kilometers in distance. Since some of our
regular participating schools had moved
their opening of classes to late August, we
accepted invitations of new schools. We
promised to start earlier next year.
VP 15 School Visit Schedule
Far Eastern
University
Technological University of
the Philippines Manila
Eulogio Amang Rodriguez
Ins titute of Science
and Technology
July 6
Bulacan State University
July 2
July 7
University of the East
Caloocan
Philippine Women’s
University Manila
Asia Pacific College
JULY 13-15
NORTH LUZON
University of Northern
Philippines
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July 14
July 13
University of Northern
Philippines
“We went as far north as
Vigan in Ilocos Sur, Iloilo
in the Visayas,and
Davao in Mindanao covering
more than
2,900
kilometers
in distance. “
Pangasinan State
University
Tarlac State
University
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July 15
JULY 21-24 VISMIN
Davao-Iloilo
July 23
Philippine Women’s College Davao
University of Mindanao
July 22
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Iloilo Science and
Technology University
University of San Agustin
Divine Wisdom
College
August 7
August 6
July 24
Lyceum University
of the Philippines
St. Scholastica’s College
John B. Lacson Memorial
Foundation University
De La Salle College of
St. Benilde
August 12
Technological Institute
of the Philippine QC
August 1
Adamson University
July 28
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Video-making
for the serious
V
ision Petron is
the venue for
developing the
creative expressions
of the youth. Thus,
video making was
introduced as a new category in 2013. It has
now developed a following among regular
contest participants.
Vision Petron sponsored a special videomaking workshop for students serious
about a career or future in this fast-paced
visual medium. Three participants per
school were invited to join the workshop.
A total of 71 students from 26 schools
attended the short but lessons-filled one
day seminar.
The country’s best in this field conducted
two parts: the morning session was all about
story-telling by award-winning scriptwriter
Ricky Lee who gave tips on how to tell
a story. He spoke on how to write from
the core and how important conflict and
characterization are to one’s story.
In the afternoon session, Director Laurice
Guillen handled the more technical side of
creating such as perspective and proper
framing of images. She showed photos to
prove exactly her point. Every session ended
with the students having a groupie with the
guest speakers.
INVITED SCHOOLS –
“Vision Petron is the venue
for developing the creative
expressions of the youth.”
Participating
Schools
1.
2.
3.
4.
5.
6.
UNIVERSITY OF STO. TOMAS
BULACAN STATE UNIVERSITY
TARLAC STATE UNIVERSITY
UNIVERSITY OF THE EAST-CALOOCAN
ST. SCHOLASTICA’S COLLEGE – MANILA
TECHNOLOGICAL UNIVERSITY OF
THE PHILIPPINES
7. PUP CREATIVE MEDIA ARTS SOCIETY
8. PUP-LAKANDAYANG CULTURAL ASSOCIATION
9. PHILIPPINE WOMEN’S UNIVERSITY
10. EARIST
11. COLLEGE OF ST. BENILDE
12. FAR EASTERN UNIVERSITY
13. ASIA AND THE PACIFIC COLLEGE
14. PANGASINAN STATE UNIVERSITY
15. ANGELICUM COLLEGE
16. ASIATECH COLLEGE - STA. ROSA
Invited Via
Facebook
17. ADAMSON UNIVERSITY
18. MANUEL L. QUEZON UNIVERSITY
19. COLLEGE OF DIVINE WISDOM
20. RIZAL TECHNOLOGICAL UNIVERSITY
21. TRINITY UNIVERSITY OF ASIA
22. COLEGIO DE SAN JUAN DE LETRAN
23. MIRIAM COLLEGE
24. KOLEHIYO NG LUNGSOD NG LIPA
25. LYCEUM UNVERSITY
26. BATAAN PENINSULA STATE UNIVERSITY
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The best day was
the last day
This year, Vision Petron received 2,325
entries for its four categories: painting,
photography, Tshirt art art design, and
video-making. Among the top schools that
submitted the most number of entries
were Eulogio “Amang” Rodriguez Institute
of Science and Technology, Far Eastern
University Manila, Technological Institute
of the Philippines Quezon City, Bulacan
State University, and Technological
University of the Philippines Manila.
Vision Petron’s Facebook page received
more than 7,000 likes, an evidence of its
popularity with its target audience.
L
ast August 29, students
trooped to the Petron
Pandacan to submit their
entries to Vision Petron
coming from nearby
colleges and universities.
Joining Vision Petron is like an annual
rite of passage for the creative and the
artistic. Some schools even adopted the
contest as an important milestone as
class requirement.
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Only a few
are chosen
To be a Vision Petron judge holds a certain stature—one that commands respect
and credibility not only among one’s peers but also among students. For the young
entrants to Vision Petron, having one’s entry reviewed, judged and chosen by the
big names in Philippine art is the highest honor. They realize that in the world of
art, indeed many are called but only few are chosen.
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SEPTEMBER 3 - PHOTOGRAPHY
SEPTEMBER 7 - PAINTING
Venue: The Metro Tent, Pasig City
Chairman: Wig Tysmans
Venue: The Metro Tent, Pasig City
Chairman: National Artist Benedicto Cabrera
Total: 1,015 entries
Total: 614 entries
Luzon: 898 entries
Visayas: 80 entries
Mindanao: 37 entries
Luzon: 548 entries
Visayas: 45 entries
Mindanao: 17 entries
SEPTEMBER 4 - TSHIRT ART DESIGN
SEPTEMBER 10 - VIDEO-MAKING
Venue Metro Tent, Pasig City
Chairman: Raul Isidro
Venue: Sentro 1771 - Capitol Commons, Pasig City
Chairman: Laurice Guillen
Total: 560 entries
Total: 136 entries
Luzon: 553 entries
Visayas: 6 entries
Mindanao: 1 entry
Luzon: 128 entries
Visayas: 5 entries
Mindanao: 3 entries
Vision Petron 14 Judges
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15
features
Petron’s Journey of Remembering,
Valuing and Loving
By Felice Prudente Sta. Maria
T
oday’s Lakbay series of Vision Petron art
contest themes began as five years of knowing
towards appreciating what was old and
new, followed by five years of honoring the
unique, collective Filipino way of life. After
the student competition’s tenth anniversary,
Petron turned to instilling awareness of journeys that Generations X
and Y along with their mentors are taking. Indeed, each lifetime is a
trip -- a lakbay -- needing preparation and decisions. Petron offers a
partnership for every traveler.
ART AIDS ASSESSMENT
Petron launched its link to art students in 2001. Anyone aged 16 to
28 years old at any stage in the art learning process was welcome
whether enrolled in a formal degree program as well as a non-formal
or informal art class. Categories for ArtPetron – the contest’s name
at its inception -- were two: oil/acrylic and water-based paints. In
2004, Petron added a third category: the first national award for
students in the art of photography. The objective was to offer popular
opportunities to journey with Petron.
Art at the National Book Awards that year. Petron’s contestants had
assessed their surroundings, their inspiring heritage and their role in
creating a future of worthwhile and beloved legacies.
ART AIDS EXPRESSION
Petron added to what students were learning. From the start, schools
of winners received prizes. Deans dined and socialized with contest
judges including National Artists for Visual Arts Napoleon Abueva,
Benedicto Cabrera, and the late Abdul Mari Imao as well as National
Artist for Literature Virgilio Almario. ArtPetron FOLIO launched in
2008 became a culture magazine in hard and electronic copies for
Filipino youth. The role of expression in a nation where it is a right has
Petron as a champion.
The highly esteemed art critic Alice Guillermo, Ph.D. authored
Brushstrokes from the Heart: The First Five Years of ArtPetron. At
its book launch, Petron’s young winners were making their names
as professionals. The book garnered the Alfonso Ongpin Prize for
In its tenth year, Petron had won 65 major awards for its work with
art students.
ART AIDS ACTION
When San Miguel Corporation purchased Petron Corporation,
ArtPetron was ripe for blossoming into Everyone’s Vision Petron
in 2011. In addition to appearing on Petron calendars, winning
entries were taken on exhibits at malls, Cultural Center of the
Philippines, the Philippine National Museum and through
Facebook. They exemplify the importance of expression based on
critical assessment toward societal action.
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Petron’s Journey of Remembering, Valuing and Loving
Annual school visits by Vision Petron increased. New creative
categories were added: t-shirt design, printmaking and video.
Internationally significant professional artists continue their coaching
of the contest and its contestants. Vison Petron continues to garner
prestigious recognition including its Hall of Fame listing at the 48th
Anvil Awards. While the contest gains honors for Petron Corporation,
its most valuable prize is intangible: participation in squiring the next
generation’s sense of self, nation and sustainable progress.
Art after all is a journey of self-discovery for those who make art
and those who experience it. Vision Petron is cultural action as
civic action.
“It’s that intangible
quality in a painting,
a quality so distinct,
so unique that
onlookers would
say, ‘Now that’s a
Filipino painting!’ ”
Arturo Luz
1953
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A Tapestry of Styles through the Years
A Tapestry of Styles
through the Years
by Carlomar Arcangel Daoana
F
or the past 15 years, Vision Petron has been gathering
such a rich harvest of works—from paintings to
photographs—that it seems impossible at first
glance to group them under a particular style
or manner execution. The winning works are
representative of the diverse modes of expression
evident in contemporary practice, belying such notions as trends and
movements. We are, after all, in the Age of Pluralism, where artists
of all stripes—emerging ones, including Vision Petron winners,
included—can stake their claim in the expanding field of visual arts,
contributing the products of their imagination, blazing new paths
and, in not an impossible feat, reconfigure that field to enact new
horizons, new meanings.
compulsions, certain tendencies at art making. By no means that
such a categorization tells a complete story but it allows us an
entry into the creative dynamics and motivation of artists who
belong to the same genera-tion and share the same milieu. Whether
they sustain or depart from such a style along the way is another
decision for the artist to make. In the meantime, we marvel at such
lucid, profound and indefatigable connections.
THE QUEST FOR PHOTOREALISM
Photorealism—a technique in painting that evokes a lifelike
scenery as though it were, as the term suggests, a photograph—is
immediately evident in Orley Ypon’s Ober-Ober (2001). With a
swathe of light igniting the scene, the work shows a group of children
in a play trying to hit the huddle of slippers almost jutting out of the
foreground. Taking on a grainy and gritty texture and atmosphere, the
work predates what we know as filter in image-sharing sites. Ypon
creates another photorealistic work titled Pamaling (2004), which
features fishermen disembarking from their boats and gathering their
harvest on shore, with one carrying a hulk of tuna on his shoulder.
With that said, the winning works, despite the prodigious variety
of their visions, do hold certain strands of similarity. For one,
the paintings are all figurative, given the fact that a theme is
introduced every year for which the participating artists need to
embody in their works. The photographs, needless to say, abide by
the shapes and contours of the visible world. In this fidelity to what
is seen, the artists are able to tell a story in their interpreta-tion of
the subject matter, giving us a unique access to their ideas about
work, identity, nature, spirituality and resilience, among others.
In that same year, other photorealistic works make their mark:
Abundang Ani (2004) by Florentino Impas, Kurantay (2004) by Jose
Pempe Ybanez and Buhay Dagat (2004) by Darby Vincent Alcoseba.
In their evocation of the theme, they explore how it fits to a larger
narrative—the narrative of the nation—and implicate them not
just creators but citizens, a part of the community. In this sense,
the work is not merely a soliloquy but the start of a conversation.
We, as viewers, are engaged to glean into and beyond the arresting
forms and luminous colors to deduce a version of truth that the artist
has laid down for us. Sometimes, it shines at first sight. In other
occasions, it has to be coaxed out, buried as it were in layers of figuration. In both cases, the exercise of looking becomes rewarding.
In looking deeply at the works across the years, certain stylistic
choices emerge, creating distinct patterns as well as potent
lines of inquiry. Artists, after all, influence each other and are
governed by the parameters of their chosen medium. By grouping
them according to these choices, one is able to map out certain
Pamaling (2004) by Orley Ypon
Ober-Ober (2001) by Orley Ypon
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Winning again in 2009 with Convergence of Buyers and Sellers
(2004), Alcoseba captures a laidback version of a market teeming
with a spectacular variety of vegetables and shaded from the sun
by huge multicolored umbrellas. While all the artists mentioned
depict an outside setting, Jared Yokte in Pera o Bayong (2009)
chooses the domestic interior of a humble Filipino home,
zeroing on a table groaning with recently acquired produce and
condiments from the market. A calendar above the table evokes
the passage of time, a marker similar to a memento mori present
in a still life.
1
Capturing movement photorealistically may seem a difficult
endeavor but Arnold Lalong-isip in Dugtungan ng Lahi (2010)
makes it look effortless. In the painting are two jeepneys in
primary colors of red and blue speeding through Lawton Bridge
with its vaulting iconic steel tresses. Their perceptible blur
conveys their fast motion, which is contrapuntal to the rest of the
scene, which includes the architecture of the bridge and the Neoclassical building of the National Post Office in the distance.
1
THE FLATNESS OF THE CANVAS
Perhaps opposite to photorealistic works (which subscribe, for
believability, to the conventions of perspective) are those that
emphasize the flatness of the canvas by juxtaposing a myriad
of elements, interrogating scale and displacing any illusion
that they are more than what the eye can see. This treatment is
evident in the first batch of works that revolve around the theme
of Filipino street games, bringing the focus on the grids on which
these games are played. For instance, Yvesse Belen in Piko (2001)
and Romeo Jose Rosete III in Tatsing (2001) position the grids so
we can look at them from above. This is also true in Emmanuel
Servito’s Lambat ng Kasaganahan (2004) that gives us a bird’s
eyeview appreciation of fishermen and their boats in the middle of
a dazzling, col-orful sea. In Chrisanto Aquino’s Dulot ni Bakawan
(2010), on the other hand, we are shown a gliding perspective of a
mangrove forest in terse, dichromatic tones.
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3
4
1. Kurantay (2004) by Jose Pempe
Ibañez
2. Tatsing (2001) by Romeo Rosete III
3. Lambat ng Kasaganahan (2004)
by Eman Servito
4 Dulot ni Bakawan (2010)
by Chrisanto Aquino
Flatness is also underscored in Jaime Gubaton’s Rhythm’s of Cloth
Production (2002) and Clarence Cantiveros’ The Dreamweaver
(2006) in which the figures are situated against the textile—with its
corresponding colors and patterns—which the main subjects are
presumably making in looms fastened to their bodies.
Manuals and maps highlight flatness as well, such as in Robert
Nelson Besana’s Manwal (2001) and John Paul Antido’s El
Viaje de Familia (2005) that use them as backgrounds in their
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respective work. The flatness of the canvas is not so much
affirmed as broken in Jaclyn Wong’s Gitarang Mabutingting
(2006) that shows the elements of guitar-making arranged on the
picture plane like cutouts.
THE INTRODUCTION OF MULTI-ELEMENTS
A painting need not only be about a single scene. It can be a
confluence of diverse visual elements to evoke a multi-faceted
narrative. Such is what Blaine Louise Rosales exhibits in
Ipagpatuloy ang Daloy ng Alon (2008) that shows a series of
panels revealing the different stages of a fiesta. In the center of
the canvas are three children painting masks, originating what
would be an integral part of the town’s collective merriment.
5. Rhythms of Cloth Production (2002 by Jaime Gubaton
6. The Dreamweaver (2006) by Clarence Cantiveros
7. Ipagpatuloy ang Daloy ng Alon (2008)by Blaine Rosales
5
In Don Bryan Michael Bunag’s Walang Hanggang Karangalan
(2013), the main image is the Spoliarium which, rather than
positioned within the hallow halls of the National Museum, is out
in the open, strung with cable wires (where birds luxuriantly sit),
crowd-ed with ice cream and taho vendors hawking their wares
and interrupted by a speeding calesa. The previous year, the artist
pulls off the same strategy in Magkaibang Magkaibigan (2012) that
evokes the connection between a fisherman and a whale shark in a
composition that resembles a photograph set against a background
with graphic elements of curlicues evoking waves. In Judeo
Herrera’s Okir-Okir (2006), graphic elements surround the subject
who is a carver intent on his work as his beloved sarimanok looms
over him. The symmetry of the painting is further emphasized by
the doubling of the subject on the pictorial space.
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In Noel Elicana’s Perspective (2014), we also glean different
elements but they all ac-crue to a kind of affirmation of national
identity: from the monuments of heroes, to the arched entryway of
Intramuros, to an image of bayanihan, all of which frame the face
of a modern Filipino that dazzles like the sun.
THE PRESENCE OF INTERESTING FIGURES
AND SETTINGS
Not all subjects—the people in the paintings—subscribe to
conventional representation. In Ricky Amabagan’s Sa Kanlungan
ng Kamusmusan (2001), for instance, the figures have mask-like
faces. In Parker Encisa’s Saling Galing (2002), the most that we
can make out of the figures—children in a circle—is through their
silhouette and the number on their shirts, as if to say that they
are part of a shoemaking team. Lance Kirby Yaneza’s Kakambal
ko ang Kalikasan (2012) shows two women with skin of bronze
hugging each other, more statue than flesh.
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Some of the figures appear less flesh than apparition. Mark
Miclat’s Pag-asa ng mga Munting Pangarap (2010) offers us a view
of children so well-lit they look as though they are about to be
dissolved by sunlight. This intense light—a kind of benediction—
also shines upon the children riding a tricycle in Mark Benitez’
Lakbay Aral (2011).
1
Landscape as a painting genre reaches fever-pitch beauty in Clint
Normandia’s Busay (2003) and Ian Cesar Cheng’s Site of the Battle of
Paye (2003), both of which embody classical composition, eschewing
trends. Rochelle Cruz’ Night Catch (2004) recalls Arturo Luz’
geometric shapes while Ada Grace Venci’s Bahaghari sa Tagolami
(2003) breaks the picture plane into fractals, creating a crystalline
rendition of a brook in which people bathe and wash clothes.
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THE START OF THEIR ARTISTIC JOURNEY
Some of the recognizable names in Philippine visual arts are Vision
Petron winners, such as Joey Cobcobo, Mark Salvatus, Mark
Andy Garcia and Raffy Napay. Cobcobo, Salvatus and Garcia have
received the Thirteen Artists Awards from the Cultural Center
of the Philippines while Napay has been bestowed the Ateneo
Art Awards—arguably two of the most prestigious, and careerdefining, recognitions for young and mid-career artists.
5
In his work, Antique Revision (2002), Cobcobo shows a group of
people working on a bulul, or rice icon. While the artist is now
doing multi-media work, he still continues to explore his origins,
especially that of his Ifugao roots. Salvatus, who also won in the
same year as Cobcobo, employs a minimalist approach with his
stick figures and linear composition against a stark red background
in Balwarte ni Lolo, Ang Aming Munting Kastilyo (2002). Currently,
the artist is more identified with installation art than paintings.
4
1 Saling Galing (2002)
by Parker Encisa
2. Night’s Catch (2004)
by Rochelle Cruz
3. Kanlungan ng Kamusmusan (2004)
by Ricky Ambagan
4. Lupang Pinagpulungan, Lupang
Libingan (2007) by Raffy Napay
5. Kakambal Ko ang Kalikasan (2012)
by Lance Kirby Yaneza
Mark Andy Garcia in Punong-Puno ng Pag-ibig (2005), on the other
hand, features his beloved subjects of ordinary folks but not with
the frenetic, lyrical strokes that are now his defining signature.
Napay, who works with threads stitched and tufted onto canvas,
exhibits dark melancholy in the work Lupang Pinagpulungan,
Lupang Libingan (2007) that juxtaposes various elements—from
the cemetery walls to typography that acts as an inscription
to shadowy ghosts who now populate the cemetery—layering
heroism with a kind of oblivion.
5
THE OPEN FIELD
One of the few student art competitions that have photography
as a category, Vision Petron has been bringing the opportunity to
22
6. Explorers (2012) by Gib Sam Salak
7. Mais by (2004) Charles Buenconsejo
8. Saling Kaalaman (2005) by Romulo Oñate II
9. Crayon Forum by (2005) Mark Lester Cayabyab
many budding photographers to express their craft since 2004.
The year coincides with the rise of digital camera, which has now
be-come so prevalent that even cellphones are equipped with
it. With the popularity of pho-tography as a medium, the stakes
consequently rise. How can your work make a mark amid the
gamut of self-same images?
7
For the winners, it’s not hard to see why their works have been
selected from the rest. They are stories in a nutshell, able to convey,
say, the triumph of initial harvest or the unbreakable bond between
a parent and a child. Freezing a particular time and place, they are
veritable documents and carriers of history as long as they exist.
Aside from their ability to record, the works exhibit a balance of
composition, a knowledge with light and a deft handling of color—
characteristics that emphasize that it takes more than the pressing of
the shutter button to take a good photograph.
2
6
8
Fluent in the interplay of light and shadow—which is one of
photography’s defining qualities—are Dave Arjay Tan’s Nahawing
Ulap sa Hangin ni Bonifacio (2007), Gib Salam Salak’s Explorers
(2012) and Kyrke Stephen Jaleco’s Volunteers (2012) in which
they delineate monument or landscape from the harsh light of
sky by submerging it in total darkness such that it can only be
appreciated as looming silhouettes. The effects of chiaroscuro—a
gradual transition from light to dark, or vice versa—are fully
deployed in Mark Lester Cayabyab’s Crayon Forum (2005) and
Romulo Onate’s Saling Kaalaman (2005), which wrap the scene
with a glowing intimacy.
9
For the photographers, no subject is too small or too big. This
range can be seen from the decidedly minimalist Mais (2004) by
Charles Buenconsejo to the epic The Lighthouse of Liloan After a
Rain (2007) by Dave Buenconsejo. From a closeup look of corn’s
ear to a faraway shot of a rain-streaked lighthouse in a landscape,
the photographers deliver a quiddity to their inanimate subjects as
though, at any moment, they are about to step into life.
Patterns, too, can play a dramatic role in a scene, such as in the
case of Paulino Tamayo’s Boatman from Dagupan (2010). While
we appreciate the bangus-fishing industry that the photograph
portrays, it is the exhilarating view of the crisscrossing bamboo
poles of the fish pens that gives the work its complexity.
While we do appreciate the photographic conceits and strategies,
what pulls us to these works, ultimately, is their humanity. We
are keenly aware that the people depicted in the photographs are
23
real, of flesh and blood. The girl gathering rice stalks while smiling
in Guijo Duenas The Gathering (2004) or the boy in a crew cut
triumphantly holding a medal as he traverses a bamboo bridge in
Bryan Morit’s Big Joy of a Little Boy (2013) reach out to us in their
sheer vitality, transmitting their joy and purpose, communicating
their deeply-held belief and aspiration—all these made possible
through the ennobling and affirming power of art.
1. Boatman from
Dagupan (2010)
by Paulino Tamayo II
2. Life (2012)
by Marc Henrich Go
3. The Lighthouse from
Liloan (2007)
by Dave Buenconsejo
1
2
3
24
Soul
Provider
by Jay Bautista
Balwarte ni Lolo, Ang Aming Munting Kastilyo (2002) by Mark Salvatus
25
A
recent study conducted by the
University of Oxford concluded that
it is neither class nor status that
makes an artist. Rather it is in the
manner one is educated that inspires
him; how conducive his community
influences him that enables his thoughts and feelings
expressed on canvas or paper and create value in art.
When Vision Petron (formerly called ArtPetron) was conceptualized
14 years ago, its sole desire was to inspire the next generation of
painters to hone their art, excel and in the process, rediscover and
appreciate Filipino culture, the long-time advocacy of Petron. While
other existing art contests catered only to fine arts students, Vision
Petron opened the opportunity to all college students and those
enrolled in a museum-based art classes believing that creativity is
not exclusively confined in artist studios and the academe. Petron
thus positioned itself as an art patron of the talented youth.
Students awaited a yearly theme that celebrated Philippine art,
culture, traditions and values. These were topics seemingly
ignored in a country more preoccupied with solving traffic or a
flagging economy. Were the youth not interested in what was good
and noble and Filipino?
1
Don Bryan Bunag countered this when he honored Juan Luna in
Walang Hanggang Karangalan (2013). It had to be in the visual
arts for us to be recognized abroad for the first time, in an art
competition no less. When Luna won the first gold medal in the
National Exposition of Fine Arts in Madrid in 1884, it was our race
that gained international stature, proving that Filipinos are at par
with the world-class standards. Painting is not a western art. It
is an imaginative tool to figuratively retell a people’s sentiment.
At a time when our neighbors were still plowing their Asian rice
fields, we already proved to be even greater than our European
counterparts. Luna’s soul would eventually be continuously
reflected on future artists’ canvases. With his hand in his heart
and one in holding his brush Bunag continues this nationalist
artistic tradition.
2
Ronald Jeresano echoes this deep commitment of the young in
the arts. Despite being saddled by dire means one still strives
to be an artist. His Panatang Obra (2008) eschews hope that
through striving for excellence and hard work in that one can best
express one’s artistic fervor or in this case as reflective of his deep
religiosity for the Black Nazarene.
3
1. Walang Hanggang Karangalan
by Don Bryan Bunag
2. Panatang Obra by Ronald Jeresano
3. Pera at Bayong by Jareds Yokte
26
Soul Provider
WINDOWS TO OUR SOUL
One of our first masterpieces was Ober-Ober (2001) by Cebubased Orley Ypon captured what it was to be young, carefree
and innocent. Basking on the afternoon sunlight children played
games that built character like persistence, trust for one another
and learning the rudiments of life through these games. Seeing
them play reminds us what we were back then is who we are now.
Pera at Bayong (2009) by Jareds Yokte may be void of people but
one gets the feeling how one tries to be thrifty by surviving on a
meager budget. We become inventive in our meals and stretch
that purchasing power to the fullest. Rendered in uniquely rough
strokes, the simplicity of Yokte’s composition represents how the
ordinary Filipino tries to make both ends meet until it lasts.
4
5
The lure of the something historical marked with Filipino
sensibilities was deeply inculcated in Vision Petron. Some even
showed originality in ingenious depiction.
Balwarte ni Lolo, Ang Aming Munting Kastilyo (2002) by Mark
Salvatus counters color and even ornate decoration usually
associated with the Pahiyas festival in his hometown of Lucban,
Quezon yet he still imparts his message of celebrating the Filipino
in his festivities. With bright red car paint as primary base,
Salvatus meticulously etches his images done in a reverse manner.
He remembers the Pahiyas (the name itself was coined by his
grandfather) with less flamboyance however the community spirit
is still there as overpowering and continued by his townsfolk.
Another inventive execution is Paoay Church (2003) by Rexell Livelo,
which is dark, haunting but moving. With stormy clouds looming in the
horizon mother and his child with dog in tow are in search of something
(or someone) beyond the ethereal and sensate around them.
6
4. Rangtay (2007) by Julmard Vicente
5. Paoay Church (2003) by Rexell Livelo
6. Perspective (2014) by Noel Elicana
“If you’re a good artist, then
your work will automatically
be Filipino.”
HR Ocampo
National Artist
27
1. Okir-Okir (2006) by Judeo Herrera
2. Buhay Dagat (2004)
by Darby Vincent Alcoseba
3. Punong-Puno ng Pag-ibig (2004)
by Mark Andy Garcia
In Nahawing Ulap sa Hangin ni Bonifacio (2007) by Dave Arjay
Tan shows a a simple subject but distinctly captured. Guillermo
Tolentino’s tribute to the founder of Katipunan is caught in mixed
emotions in the dramatic play of dark and light. Another is Noel
Elicana’s Perspective (2014) took advantage of the theme of
triumphs and victory by pronouncing the unappreciated role of the
Ilonggos in the quest for freedom in history and progress.
SOUL PROPRIETORSHIP
How Filipinos are portrayed in the arts have also been the burden
of the young students of Vision Petron. Appreciating our time-honored
ideals made up for Philippine art’s lack of definition in coming up with
their own visual style.
Punong-puno ng Pag-ibig (2005) by Mark Andy Garcia graphically
portrays love in all its facets. Done in various mixed media, Garcia
explores relationships in spontaneous brushstrokes bordering on
friendship and upbringing in one continuous moving depiction.
Love is a verb and this painting proves that art must move for it to
be valued survive. Garcia makes love a timeless classic theme.
1
2
3
28
Oftentimes the Filipino is seen in the details than the colorful and
the loud. Dibuhong Masinsin (2006) by Hilarious de Jesus shows
how a pina jusi barong is appropriately rendered. How patience
and attention come to justify its minute design elements done
manually by hand.
Okir-Okir (2006) by Judeo Herrera pays homage to our Muslim
master craftsmen by imbibing their artistic philosophy in
dual reflective images. How religion and their way of life are
intertwined in the lives of Filipinos in the South. Respect for their
past symbols to appreciate their lives today is what Herrera
wants to impart to his viewers.
Vision Petron saw how popular genre scenes highlighted the
uniqueness in the Filipino. Such as the hustle and bustle of the
La Trinidad market was perfectly captured by Market in Motion
(2009) by Paul Quiambao. Despite being confronted by surplus
of vegetables from abundant foreign export, our local markets
continue to struggle to compete in providing nourishment in our
food ingredients by keeping reasonable prices on our tables.
4
The raw and dirty lives of the fishermen in Buhay Dagat (2004)
by Darby Vincent Alcoseba are often ignored. These unrecognized
guardians of the sea bear the loneliness of being out there, sometimes
for days just to earn their keep, is framed in realist watercolor hues.
Meanwhile the dignified backbreaking work of the farmer is reflected
on how Cherry Mae Pinoliad captured them as she witnesses them in
the fields in Salamin ng Buhay (2010) is worthy to note.
SOUL FLIGHT
In one of his essays, National Artist Nick Joaquin defined Filipino
identity as an active word--not what how we were influenced by
our colonizers but what we continue to become what we are at this
moment. The 15 years of Vision Petron saw or even documented
how our culture is dynamic and had evolved and adapted to the
changing times.
5
With the continued increase Filipinos working abroad, El Viaje
de Familia (2005) by John Paul Antido paints the diaspora of the
Filipino family and how they affect globally the dysfunctional
existence of which they live: the father works in Saudi Arabia, the
mother is a domestic helper in Italy while the kids stay home with
their grandmother who takes care of them. With the Philippine
map as backdrop the Filipino family is threatened while what the
money they send back home helps uplift the economy.
4. Dibuhong Masinsin (2006)
by Hilarious de Jesus
5. Nahawing Ulap sa Hangin ni
Bonifacio (2007)
by Dave Arjay Tan
29
Students like Dale Erispe have painted their struggle closer to
home. In his Lakbaying Walang Katapusan (2011) one could in
sympathy with the perils of getting a decent education. With all
the adversity, a rainbow is more than just a plethora of colors but
an inspiration that after the storm a brighter tomorrow await for
those who dared.
Traditions through rituals are passed on despite the change in
customs as in Eid Mubarak! (2014) by Ezra Acayan, a lone Muslim
child is evident as she patiently waits for her family’s obligation
with their customary prayers. It is expected that one day she will
practice what her elders have preached.
Our native language does not have a word for “art.” The closest
word we have is “sining” which in Bahasa Malay for “to reflect.”
Our concept for art may be intertwined with how we live which
makes us different from our Asian neighbors like Malaysia,
Indonesia or even Thailand. One wonders further why Chinese,
Indian, and Japanese paintings have their own distinctiveness in
their arts. Having no common brushstroke, we may have diverse
and various expressions as many as 21 ethno-linguistic groups in
the Philippines, what matters most is we have soul or souls, as
many and layered of influences as possible. More like the Filipino
kakanin, called sapin –sapin.
Untangling the Flag (2014) by Jeremiah Digo reflects this ongoing
sentiment. Tattered as it is shown, our flag still flies proudly
above the skies. In this day and age where everything is instant,
short and fleeting, culture is eroding, fast changing and being
lumped into globalization. Nevertheless Vision Petron makes
sure the next generation of Filipinos remains grounded and
appreciative of Filipino values, that how you build a country,
with body and soul intact.
1
2
1. Market in Motion (2009)
by Paul Quiambao
2. Eid Mubarak (2014)
by Ezra Acayan
3. Blur (2011) by Marc Henrich Go
3
30
Hinabing Simbuyo ng Bagong Panagimpan (2006) by Angelo Tabije
The Re-enchantment of Traditional
Values in Philippine Art
Rina Angela Corpus
T
o re-enchant is to bring a sense of aliveness
and wonder, to awaken to our sense of
connection to a contested world – with
its calls, causes and storied traditions
– as opposed to Western Cartesian art’s
ontological predilection to make art an entity
without a purpose outside its aesthetic – art for art’s sake -- quite
separate from the everyday and its concomitant issues.
part of the world, art critic Suzi Gablik also cogently wrote in a
similar vein, as she critiqued the alienation and social antipathy
of Western modernist art, while invoking art that can be a relevant
crucible for a people’s sense of purpose, offering a sense of
community, an anchor of a culture’s time-honored values amidst
the precarious hegemony of materialism and hyper-consumerism
in our modern times.
So it is worth noting that the very narratives and richly-layered
expressions of our enchanting traditional Filipino values permeate
the works of Vision Petron artists over the years. The process of
re-enchanting art back to where it belongs – to community, to
Philippine Humanities scholar Felipe de Leon Jr. once called for
the “re-enchantment of art,” where art can be a place where the
aesthetics of the everyday and traditional values meet. In another
31
people and their deeply held values and sense of spirituality – is
very much ensconced in the various winning art works, whether in
painting or the photographic medium.
SPIRITUALITY AND FOLK ARTISTRY
Take Hinabing Simbuyo ng Bagong Panagimpan (2006)by Angelo
Tabije, a surrealist conception of two generations of women weavers,
in a state of sleep and dreaming, behind them a background detail of
the traditional t’nalak weave of the T’boli indigenous community in
Southern Philippines. Also known as “dreamweavers,” the women
weavers of T’boli culture are known to possess sacred powers and
are revered as leaders of the community, held high for their capacity
to connect to the gods and the spirit world while able to translate
messages and images from the dream world into their woven cloth.
The monochromatic hues of earthen green, beige and white in Tabije’s
work make for a dream-like vision of a traditional artistic practice
that is deeply entwined with our people’s native spirituality.
1
The artistry and playfulness of Jaclyn Wong’s Gitarang
Mabutingting (2006) is also worth noting for giving life to the life
of a guitar in cubist fashion. Her use of browns and greys to form
the various shapes of guitar-making that Cebuano culture is known
for takes form in this work, making the audience ruminate on the
practice of artistry in this local industry.
2
The artistry and playfulness of Jaclyn Wong’s Gitarang
Mabutingting (2006) is also worth noting for giving life to the life
of a guitar in cubist fashion. Her use of browns and greys to form
the various shapes of guitar-making that Cebuano culture is known
for takes form in this work, making the audience ruminate on the
practice of artistry in this local industry.
4
TRADITIONAL GAMES
Meantime, traditional Filipino games and the values of
camaraderie, team work and creativity are put to fore in the
paintings of Romeo Rosete’s Tatsing (2001) and Ricky Ambagan’s
Kanlungan ng Kamusmusan (2001). Rosete’s work is a profile of
four boys engrossed in the local game of ‘tatsing’ (from the English
“touching”), where the ‘battle of bottle caps’ takes center stage.
His aerial perspective enframes his subjects in dynamic positions
denoting movement and the intense energy of children at play.
Ambagan’s cartoonish work, meanwhile, shows children walking
on bamboo stilts, which is a traditional outdoor activity in several
Asian countries. His flat perspective and horror vacui aesthetics
of children enjoying their flexible bodies on bamboos speak
3
1. Piko (2002) by Yveese Belen
2. Dinagyang Festival (2008) by Alex Ordoyo
3. Pagdating ng Isang Anghel (2013)
by Chrisanto Aquino
4. Larawan ng Mabuting Pamayanan (2010)
by Neil Defeo
32
The Re-enchantment of Traditional Values in Philippine Art
5. Bayan Ko Ipinagdarasal Ko (2014) by Karl Albais
6. Mga Nakakubling Ngiti ng Pagdiriwang (2008)
by Gerald Mungcal
of the communal nature of traditional Filipino games – which
are always meant to be enjoyed outdoors and in the convivial
company of others.
The softness of watercolor as medium is central to Yvesse Belen
in Piko, showing the profile of stick-like children amidst the
all-too-familiar layout of the popular Filipino street game. This
offers a distinct contrast from Orley Ypon’s Ober-Ober (2001), a
photorealistic painting that captures the sense of aliveness of street
kids striking it in this game with rubber slippers. In all these works
-- the gregarious festivity and a strong sense of sharing are the core
values in action in the children’s practice of traditional games.
6
FOLK SPIRITUALITY
Traditional Filipino piety and folk religiosity are also ensconced
in several art works. The Dinagyang Festival (2008) of Iloilo
becomes the theme of Alex Ordoyo’s Dinagyang Festival, while
Gerard Mungcal tackles the Moriones Festival of Mindoro in Mga
Nakakubling Ngiti (2008). In both instances, the joyful smile that
Filipinos are known for is revealed.
5
In photographs, these are equally highlighted in the works of
Marcelino Bugaon’s Indayog (2008), Vincent Kho’s Sinulog Festival
(2008)and Hadrian Aguilar’s Pagkakaisa ng mga Kulay, (2008) all
revealing friendly faces and celebratory colors of the richly variegated
religious and cultural festivals throughout the archipelago.
Faith in the power of contemplation and prayer is similarly
accentuated in Karl Albais’ Bayan Ko, Ipinagdarasal Ko (2014) a
painting of a lone child on her knees, as daylight peeps through
the squalor of the metropolis. An image of both urban dereliction
and spiritual devotion to a Divine Being -- a continuation of our
forebears’ faith in the spirit -- is here put to fore.
INDUSTRY AND HARD WORK
The value of industriousness is put to fore in the photographs Baguio
Market (2009) by Vincent Kho, a bird’s eye view of market vendors
busily selling their produce. Meantime, Paul Quiambao’s Market in
Motion (2009) artfully uses the time-lapse technique to capture the
moving crowd inside a market, as he uses the tall metal frames of the
public space’s bare architecture to enclose his image of a bustling horde.
In the countryside setting, this value is shown in Cherry Mae Pinoliad’s
Salamin ng Buhay (2010), a photograph capturing the feet of farmers
at work, as the watery rice paddies mirror their upper bodies as they
are engrossed in their backbreaking work under the sun.
33
The spirit of volunteerism, meanwhile, becomes the theme of
Michael Feliciano’s Plant a Tree (2010), where the hands of profiles
of school kids are shown engrossed in the act of planting seedlings.
In Neil Defeo’s Larawan ng Mabuting Pamayanan (2010), we see
an image within an image, as the painting shows a teenage girl
pleasantly smiling beside a photograph-like rendition of a scene of
volunteer street sweepers cleaning the flooded metropolis.
Journeying through various modes of transport is also envisaged
in several works. Michael Froilan’s The Path of Life (2010) shows
a painting of a fully-loaded tricycle traversing the countryside
scenery, while some blue roses dreamily make up the sky. Dale
Erispe’s Lakbaying Walang Katapusan (2011), meantime, shows
three girl-children in uniform, crossing a body of water with a
line of classroom chairs, as a painted rainbow surrealistically
beams overhead. This work also echoes Alexis Gapal’s Success
Begins Here (2011) which photographs a lone schoolboy crossing
the rice fields, cluing us into the hardship of schoolchildren who
must walk through strange and unfriendly terrains just to reach
school. Similarly, Kirk Buenconsejo’s Ride Under the Rain (2011)is
a candid frontal shot of four kinds of local transportation braving
the streets on a rainy day – a traditional horse-drawn kalesa, a
pedicab, a bike, and a mini-van. The spirit of making-do amidst
the inclement of environments is portrayed here. The notion of
making-do and resourcefulness are similarly portrayed in Eden
Cruz’s Joyride (2011) which shows six street kids happily riding
a small wheeled cart (locally called kariton), made with bare repurposed wood and wheels.
1
THE ECOLOGICAL CONNECTION
An innate love and respect for nature also proliferate the collection
of art works. Kakambal Ko ang Kalikasan (2012)by Lance Yaneze is
a powerful imagery of a twin female figure – a brown-colored female
being mirroring the earthen body of mother nature herself – showing
the inescapable connection of humans with our very ecology.
Emil Reambillo’s Unending Journey (2012) takes us to an
imaginaire of a girl jutting out of a painting frame as if it were
a real-life window. The girl is in the act of embracing nature, as
riverine waters flow from the painting out through the frame,
while butterflies, birds, flora and fauna are released from the
1. Sinulog Festival (2008) by Vincent Kho
2. Pagkakaisa ng Mga Kulay (2008) by Hadrian Aguilar
3. Indayog (2008) by Marcelino Bugaoan Jr.
4. Plant a Tree (2010) by Michael Feliciano
5. Baguio Market Place (2009) by Vincent Kho
6. Journey to Love and Happiness (2013) by Reu Dawner Flores
3
34
2
The Re-enchantment of Traditional Values in Philippine Art
frame out into the outside world. The inner and outer worlds
seem to be referenced here, as if to feature the idea that the
internal ecology (kalooban) of humanity is but a reflection of the
state of our outer ecology (kalikasan).
Kyrke Stephen Jaleco’s Volunteers (2012) is also a cogent image of a
young mangrove tree amidst a backdrop of older mangroves in the
ecosystem, offering an allegory of hope for our ecological future.
A close-up picture of a lone native tortoise, swimming in its habitat,
is also an icon of promise for the possibility of survival amidst our
beleaguered times in Oliver Lagda’s Barely Surviving (2012).
4
The silhouette profile of two mountaineers
standing amidst a mountainous terrain is the
subject of Gib Sam Salak’s Explorers. The photo
proffers a sense of awe and reverence for the
natural world.
Edu Perrera’s Fulfilling and Caring for God’s Gift
(2014) is a painting that resembles a collage, as
cut-out hand-shaped papers encircle the planet
earth. These hands contain words that suggest
pledges for the stewardship of our lone and
precious ecological home
Familial affection and respect come to fore in
Chrisanto Aquino’s Pagdating ng Isang Anghel
(2013), a roughly-textured caricature of a man
and wife snuggling their newborn, which, again,
symbolizes the proverbial light of hope amidst the
hardship of our times.
5
Then, the gregarious photograph of Reu Dawner Flores’ Journey
to Love and Happiness (2013) shows a happy family picture
celebrating what looks like a wedding anniversary of their aged
parents, seated in the middle as their closest kindred cheer them on.
In all these instances, our contemporary artists find reasons
to celebrate the enchanting traditional values of our forebears
– time-honored values that continually persist in the memory,
identity and embodied lifeways of our current times, allowing us
to face the challenges of the day with a sense of resilience and
confidence that can come only from our deep rootedness to our
storied, resonant past.
6
References:
Gablik, Suzi. The Re-enchantment of Art. New York, 1991.
De leon Jr., Felipe. “Cultural Identity and Development” in Suri Sining. Quezon City, 2011.
35
Barely Surviving (2012) by Oliver Lagda
36
Visions of a Disappearing World:
Connecting Ecology and Society
through Vision Petron’s
Winning Works
by Lisa Ito
REPRESENTING NATURE
A survey of themes adopted by the competition since 2001
underscores the range of perspectives held by young artists on the
question of ecology and nature: considering these as part of the
country’s vast wealth, as celebrations of life, as essential aspects
of a society’s culture, and as visions of a fast disappearing world.
Competition themes during the early 2000s, for instance, explored
aspects of Philippine culture fast disappearing with the changing
times. Always incorporated within these narratives of loss,
celebration, and preservation were the link to the environment and
its resources. These ranged from the idea of play (2001), merging
recreation with the outdoors, to rich local artistic traditions such
as okkir, habi, basketry and woodcarving in Alay sa Sining Pinoy
(2006), which are all derived from the abundance of the native earth.
E
Busay (2003) by Clint Normandia
ncountering the ecological embraces not only the
experience of nature, but also reflects on how the
world beyond is interconnected with the lives of
people and communities, with generations past
and present. The preservation of the natural world
is not an entity separate from our own survival,
but a necessary condition for it.
Several of these themes would directly engage the question of how
people relate to their natural environments. In 2003, for instance,
the organisers fielded the theme of Philippine land-scapes, under
the slogan Lumang Tanawin, Bagong Likhain. The winning entries
for that year, representing places and vistas from all across the
archipelago, would all collectively incorporate the presence of
people in nature: whether as explorer or inhabitant of the place.
In the history of the visual arts in the Philippines, nature is
inseparable from the production of art: providing not only the
materials for works but also subjects for iconic representation.
Images of nature or motifs derived from nature have appeared as
central theme and ornament, backdrop and primary subject matter
across a wide range of art forms: from indigenous textile traditions
to painting and other media adopted during the modern age.
These images are testaments to the natural wealth yielded by the
Philippines’ seas, lands, forests and fields. Yet they are also mirror
the relationships, whether perceived or lived, that people have
with their environment.
The human presence within landscape may be a central one—seen in
the bathing figures of Ada Grace Venci’s work, Bahaghari sa Tagolami
(2003) —or may be barely perceptible, as in the case of peasants
portrayed in Ian Caesar Cheng’s work titled Site of the Battle of Paye
(2003), nearly blending into the gap between field and forest. Both
represent farmers and fisherfolk, peoples whose livelihoods and
lifestyles remain closest and most connected to that of nature. Even
idyllic vistas of nature portrayed by the works of Clint Normandia,
titled Busay (2003), and James Neil Viola, titled Hintayan sa Pola
(2003), weave traces of the human presence into landscape, where
rural homes merge and blend in with the surrounding scenery.
The annual Vision Petron student art competitions have taken on
various themes and con-cerns for the past years: many of these
have strongly resonated with facets of the natural world. Whether
directly or indirectly, the works produced by Vision Petron’s
winners also offer glimpses of how young Filipinos visualise the
question of environmental protection and awareness.
On the other hand, the motif of the human viewer standing in front
of mountains, symbolic and literal, can be recalled in Fernando
Ramos Jr.’s Bahay Katutubo sa Pinatubo (2003) and Rexel Livelo’s
Paoay Church (2003). Ramos’ work juxtaposes the contours of the
37
1
famed volcano with a map and vignettes of indigenous peoples
and the daily struggle for survival, reminding the viewer that Mt.
Pinatubo, post-eruption, is not a wasteland but also home to some
of the oldest cultures in the archipelago. On the other hand, Livelo’s
vivid rendition of Paoay Church (2003), ominously illuminated
by the sky, soil and a coming storm, seems to recast the site of
the man-made heritage church as a metaphorical mountain: a
monument to the divinities of both the pre-Hispanic and Spanish
colonial eras.
CELEBRATING AND REAPING NATURE’S GIFTS
The symbiotic connection between communities and natural
ecologies was further explored in 2004’s competition theme, titled
Lumang Ani, Bagong Sali. The winning works for that year centered
on the idea of the harvest as a celebratory space: as a site and rite
of abundance, fecundity, and productive growth. Here, the long
2
38
Visions of a Disappearing World
period of sowing and waiting is finally through; and in reaping the
harvest, a new cycle of life ends and begins.
The winning paintings for 2004 may furthermore be categorised
into two general types in terms of subject matter: works depicting
the harvests of the field, literally the fruits of the soil and the
“green” gold reaped above ground, and works representing the
catch from the country’s vast and teeming waters.
It is no surprise that the idea of nature’s abundance has
such diverse dimensions in a coun-try both agricultural and
archipelagic. The Philippines has long been considered as a megadiverse country: home to many rich species and abundant natural
resources, whether on land or in its seas.
This balance between terrestrial and marine harvests is seen in a
comparison between the work by Florentino Impas, Jr.’s Abundang
Ani (2004) and Rochelle Cruz’s Night’s Catch (2004). The work Ani,
for instance, distills in a single, unified frame the various stages
of farming harvest activities, done under the bright midday sun.
In contrast, Night’s Catch shows solitude and solidarity between
fisherfolk as they haul back their nets from the deep, entwined
with the rhythm of the sea.
3
The two works also present interesting contrasts in styles of
representation and techniques that the competition’s winning
works embody: from realism to stylized figuration and abstraction.
The tradition of figurative realism, for instance, is seen in Orley
Ypon’s Pamaling (2004), and Jose Pempe Ibanez’s Kurantay
(2004), which both demonstrate the masterful execution of figures,
objects and landscapes. Night’s Catch, on the other hand, brings
out a parallel sense of harmony in its use of geometric patterns
and lines, drawing connections between sea, shore and slopes.
The possibilities of increasingly abstract form and of different
approaches towards perspective is further explored in Emmanuel
Servito’s winning watercolour work, Lambat ng Kasaganaan
(2004), which combines the top view of a fishing scene with
random, vivid swirls of pigment to denote the diversity of life
teeming beneath these still waters.
4
1. Tagolami River (2003) by Ada Grace Venci
2. Site of the Battle of Paye (2003) by Ian Caesar Cheng
3. Abundang Ani (2004) by Florentino Impas
4. Hintayan sa Pola (2004) by James Neil Viola
By this time, the Vision Petron competition also adopted
photography as another category of form, recognizing the work
of many young practitioners in the field. Also responding to
the theme of harvest, the black and white photographs would
emphasise their human subjects as the focal point. In the works
by Kim Sanchez Si Tsong at mga Tilapia (2004) for instance, the
39
solitary figures of the farmer and fisherman—engaged in the postharvest processing of fish is connected by the gesture of the hand,
working to turn nature’s harvest into food for nourishment.
In retrospect, the addition of photography in the competition
strengthens the idea of ecological connection not only as vision or
perspective but also as documented reality. Interestingly, many of
the winning paintings this year portrayed images of sea harvests
while most of the winning photographs documented scenes from
the fields.
INTERSECTIONS OF CULTURE AND NATURE
A sense of continuity from the idea of harvest may be drawn
from the competition’s successive themes from mid-2000 to
2010. The concepts adopted during this period ranged from local
artistic traditions and forms of folk art in Alay sa Sining Pinoy
(2006) to the themes of heritage, festivals, and markets from
2007 to 2009.
Throughout all of these, the presence of nature as material
and motif is a recurrent subtext. For instance, the country’s
long-standing traditions of woodcarving— premised on the
abundance of hardwood and softwood species throughout
the archipelago—is chronicled in the works of 2006, such as
Judeo R. Herrera’s winning painting on Mindanao’s intricate
okkir traditions and Marilaine Claudette Gapal’s photograph
of a woodcarver at work on an image of a Catholic santo. Both
traditions originate from opposite ends of the country and in
different socio-religious contexts, but are nonetheless connected
by shared cultural traditions that the Philippines’ ecological
resources have shaped. The same can be said for the other
winning works representing various traditions of weaving,
where nature yields not only sources of textiles and dyes but
also patterns and symbols.
1
Within the succeeding years of the competition, the idea of nature
continued to exist in an interface with culture. In the themes of
festivals and markets, for instance, objects and products of nature
are constructed, celebrated and consumed, both across the market
as commonplace commercial space and within festival, as ritual
spectacle. For instance, the water as staging area of a fluvial celebration
is highlighted in Mari Rose Angeline Lim’s 2008 photograph, Apung Iru
Festival (2008), while the market as repository of bountiful catch from
both river and sea is documented in Ronel Peren Pangan’s The Colors of
the Sea (2009) and Al Ameer Lawan’s Isda: Paboritong Pagkain ng Tao
at Pusa (2009).
2
3
40
A closer visual interface between ecology and community
resurfaces in 2010, with Chrisanto N. Aquino’s winning
watercolour work, titled Dulot ni Bakawan (2010). The painting
successfully conveys how the transitional presence of mangrove
forests simultaneously connects and protects settlements from
the tide and sea: a hatching ground, buffer zone, and eco-logical
niche essential to the life of the coastal community. Rendered
in a monochromatic style, the work emphasizes the organic
continuity of lines across roots, roofs and waves—symbolically
implying that the same life force runs through all of these.
Meanwhile, texts within the work underscore the artist’s cry for
the preservation and protection of mangroves as a space critical
to the balance of the entire system.
HOLDING PARADISE DEAR
The urgency of the message forwarded by Dulot ng Bakawan has
resonated more strongly in recent years, as various disasters—
natural and unnatural—unfolded not only locally but also
globally. The competition themes from 2011 to the present may
thus be interpreted as an attempt at reflecting on how the current
ecological crisis touches various aspects of a society’s existence
and how people are currently learning the value of protecting
nature from further degradation.
4
In 2011, the competition started focusing on the idea of lakbay
(travel or journey), adopting a more distinct ecological theme in
2012 with the slogan Lakbay Kalikasan A Journey of Nurturing
Nature. The winning paintings and photographs of that year,
unsurprisingly, all focused on the experience of nature—but in
various ways and perspectives.
Many works celebrate the act of communing with nature,
and the consciousness that such communion facilitates. John
Mark Saycon’s solitary figure of a child in Salamin ng Buhay
(2012) denotes how the encounter with nature is also a process
of self-discovery, while Don Bryan Michael Bunag’s work,
Magkaibang Magkaibigan (2012) touches on the moments or
points of connections between the self and other, between
earth and water, and between humans and other inhabitants of
a shared earth.
5
1. Wood Carver (2006)
by Marilaine Claudette Gapal
2. Apung Iru Fluvial Festival (2008)
by Mari Rosa Angeline Lim
3. Si Tsong at Mga Tilapia (2004)
by Kym Sanchez
4. Salamin ng Buhay (2012)
by John Mark Saycon
5. Magkaibang Magkaibigan (2012)
by Don Bryan Bunag
These moments of self-discovery and connection are further
visualised in Emil Reambillo’s watercolor painting titled
Unending Journey (2012), where the viewer is exhorted to look at
the world be-yond through the eyes of a child: through a person
who is able to see with wonder, beyond the cur-rent frames
41
of one’s own experiences. Lance Kirby Yaneza also delivers a
timely message on how nature and the environment is not to be
seen as only external realities but also as part of our very own
selves, in the work Kakambal ko ang Kalikasan (2012).
These urgent times call for awareness, action and advocacy—
areas underscored in Arman Jay Arago’s work titled Pagkamulat
(2012). In this painting, two children look up at a poster of
another child, standing in front of bulldozed land and holding
a placard. What fine line divides and separates them from the
other? How much time left before these two other children
themselves become icons and subjects warning of imminent
threats? Also implied in this work is the need for actual action
and intervention in realities that have been reduced to images
and virtualities, smokescreens and spectacles.
What is coincidental and common to all winning paintings in
the 2012 Lakbay Kalikasan collection is their employment of
various gestures of the hand: touching and exploring, pointing
and probing, holding and grasping. These gestures, as a shared
trope or motif, may be interpreted as a collective appeal to
reach out, to hold paradise dear and to grasp the tools that can
protect it from further harm. In these, one may find solace in
Salvador Banares’ work titled Hope (2012), where art makes
possible the act of re-drawing and re-imagining the world that
was, and that can be.
1
This is, perhaps, where art offers change and the potential for
continuity. The competition has over the years produced a rich
array of works dealing with the concept of ecology at the level
of representation, visualizing connections with nature through
paintings and photographs. One corollary challenge is when or
how to transition to works and encounters beyond the visual—
where a wide range of multi-sensorial media can further
explore and translate ecological connections into encounters
with art. Many thematic questions—such as the current
realities of environmental destruction, resource extraction
and the challenge of ecological protection amidst the need for
industrialization—also can be considered for further reflection
and retrospection by visual artists.
3
1. Hope (2012) by Salvador Bañares
2. Pagkamulat (2012)
by Arman Jay Arago
3. Unending Journey (2012)
by Emil Reambillo
Threaded together as a narrative by artists of different
generations, the competition’s winning works have not only
celebrated the gifts of nature and our links to our environment
but have also underscored the preciousness of these memories
of nature and the urgency of responding to these visions of a
fast disappearing world.
2
42
Vision Petron National Student
Art Competition 2015 :
Journey to Happiness
O
n 28 July, Petron Malaysia embarked on its
third instalment of Vision Petron, with the
theme “Journey to Happiness”. The theme
is a reflection of the road to one’s happiness
and this year, we added a new videography
category to encourage students’ expression of
arts through film. The competition was open to students aged 18-28
years old studying in local universities and colleges.
This year saw a marked increment in the number of submissions
where a total of 669 entries were submitted when the competition
came to a close on 4 September 2015. This year’s submission
constituted more than 90% increase from last year’s 335 entries.
Majority of the submissions were for the Photography category
which constituted 60% of the total submission, followed by Art
Painting category (35%) and Videography (5%).
To reach out to more potential artists, Petron Malaysia had
embarked on a comprehensive campaign to promote Vision Petron
which includes advertising in the STAR newspaper, the number
one English newspaper in the country. The STAR newspaper had
also written an advertorial about Vision Petron on its Lifestyle
section. Vision Petron’s advertisements were also played on
Spotify, a commercial music streaming service provider and had
reaped 614,000 numbers of impressions which was the highest
traffic in all ads unit. Aggressive promotions were also done on
Petron Malaysia’s Facebook page, which managed to garner more
than 1000 reach.
activities such as photography and art jamming workshops, with
leading local photographers and artists such as Professor Ishak
Abdul Hamid (Mass Media Principal Lecturer), Azman Karib
(Professional Photographer), Nazli Zainal Abidin (Professional
Photographer), Ben Toh (Owner of Refinery, Art & Design Hub),
Elnaz Rostami (Visual Artist & Decorator) and Kenzy (Artist).
The judging sessions took place at the National Visual Arts Gallery
on 9 September, 2015. A panel of very prestigious judges comprised
of renowned national artist, art curators and professional
photographers judged each submission based on originality,
composition, and creativity. The panel of judges were Suzlee
Ibrahim (Renowned National Artist), Chng Tack Lui (Renowned
National Artist), Winson Loh (Founder, Pinkguy Gallery), Andrew
Petron Malaysia had also gone on ground with a series of road
shows at the campuses of Saito College, Dasein Academy of
Art, UCSI University, SEGI University, Multimedia University,
Taylors University and Lim Kok Wing University of Creative
Technology. During the roadshow, students participated in exciting
43
Boey (Director, Beyond Photography Academy), Steven Leong Kit
Foon (Chairman, The Royal Photographic Society), Azharr Ruddin
(Producer, Director & Editor), Syahrul Niza Ahmad Zaini (Senior
Assistant Curator, National Visual Arts Gallery) and Zaimi Harun
(Petron Malaysia’s Manager of Corporate Affairs).
Koo Yein Ni of Dasien Academy of Art emerged as the grand prize
winner in the painting category. Her entry entitled, “Beautiful
Scene,” caught the attention of the judges with her clever use of
motifs, color and composition to reinforce the idea of a happy
life. Meanwhile, Abdullah Amirulamin Bin Hamid of Multimedia
University, won the photography category with his photo entitled
“Enjoyment”. He presented a picture of a little boy playing with
birds beaming with happiness. The boy’s pleasure in interacting
with his immediate living environment were fleeting on the eyes,
but lasting on the mind. For the videography category, Khor Zhen
Yee of University of Science Malaysia had bagged the top prize
with his entry “Journey to Happiness”. His video depicting a little
girl sacrificing her savings to help the needy had touched the
hearts of judges.
Participants compete for the top 18 prizes comprising a total value
of RM22,500. Grand prize winners each received a cash prize of
RM3,000.00. Second and third place winners received RM2,000.00
and RM1,000.00 respectively; while fourth, fifth, and sixth placers
each won RM500.00. All winners also received trophies and
certificates of participation.
44
45
people
Introducing
Vision Petron’s
creme de la crème.
artists
WHO TRANSFORMED
THE FACE OF CREATIVITY
1. Mark Andy Garcia • 2. CJ De Silva-Ong • 3. Raffy Napay • 4. Joey Cobcobo
5. Charles Buenconsejo • 6. Florentino Impas • 7. Arturo Sanchez Jr.
1 2 3 4 5
6 7 8 9 10
11 12 13 14 15
46
8. Orley Ypon • 9. Ronald Jeresano • 10. Mark Salvatus • 11. Robert Besana
12. James Ona • 13. Jeff Salon • 14. Paul Quiambao • 15.John Paul Antido
JOHN PAUL ANTIDO (b.1982)
John Paul Antido is a hall famer having won in 2002 and 2005. A member of the Antipolo-based
Sanviaje, Japs has a peculiar style of painting - the impasto technique of laying thick paint
with finite textured brushstrokes using vivid colors with light hues. With five solo exhibitions,
travelling has been his constant theme. He has also done illustrations for a children’s
book and lately he has dabbled photographer where portraiture is his forte. His paintings were
recently featured in a children’s book.
ROBERT BESANA (b.1976)
One of Vision Petron’s first grandprize winner in 2001, Besana has always investigated the
contemporary possibilities of materiality and perception. His winning work Manwal (2001)
makes the viewers rotate their gaze as he captures children playing a game of slippers. He is
currently a director at the School of Multi-Media Arts at the Asia Pacific College where he has
proven that the best teachers of art are those that actively practice it.
CHARLES BUENCONSEJO (b. 1984)
Multi-media preoccupies Buenconsejo’s work while employing his deep passion for photography
where he was first recognized as Vision Petron’s first hall of fame in this category. He has won
the Ateneo Art Awards for two consecutive years and has done residencies in Visual Arts Center
in La Trobe University in Australia. His art was shown in his solo exhibitions – Unending Void,
Destination Unknown, and Reality is a Hologram which are infused with his inquiries on science.
Sometimes to question is enough response.
JOEY COBCOBO (b.1983)
The art of the indigenous is intrinsic in Cobcobo’s work who comes from a lineage of Ifugao
wood carvers in the north. He has rediscovered his technique by employing a multiple layers of
images in heavily indented prints. His subject matter range from a tribute to his tribal roots to the
personal relationships Filipinos value such as respect and love for the elderly and families. A CCP
13 Artists Awardee, he now teaches at his alma mater Technological University of the Philippines.
MARK ANDY GARCIA (b.1984)
A graduate of the Technological University of the Philippines, Mark Andy Garcia has won a grand
prize and three runners up in Vision Petron. A recent CCP 13 Artists Awardee for 2015, he also
won grand prize in the Metrobank Art and Design Excellence in 2007 and Juror’s Choice Award
of Excellence for Philip Morris in 2008. Garcia paints autobiographical works reminiscent of his
personal tragedies and Joys. Despite the ruggedness and the raw texture of his works, Garcia
remains optimistic about life.
47
FLORENTINO IMPAS
(b. 1970)
What make Vision Petron unique is it is open also to students of museum-based painting classes
where we discovered homegrown talents like Florentino Jun Impas. One of Cebu’s most sought
after artist. He is also portraitist of choice of cardinals, bishops and has even been invited to the
Vatican for a sit down with the religious there. Impas has done the official portrait of St. Lorenzo
Ruiz of what we all are familiar with. He had significant solo exhibitions at the SM Art Center
in 2009- “Portraits and Figures” and 2011- “Circle of Life”, Metropolitan Museum of Manila and
2014- “Kalendaryo Festival”, SM Art Center, SM Megamall, Mandaluyong City. This year he
participated in painting Art and Anthropology at the Chicago Field Museum Mural Painting “Art
ad Antropology” in the United States of America.
JEFFREY SALON (b. 1986)
Salon is a hall of famer having won in 2005 and 2010. Mark by his own realism and monotone
palette, Salon is old school with his palette focusing on children and their plight and welfare. He
has had solo exhibitions at the SM Art Center, Nineveh Art space and Singapore. He won in Sining
PSE National Art Competition and the Miguel Malvar National Art Competition.
MARK SALVATUS (b. 1980)
Even when he joined ArtPetron and submitting wall bound paintings, Salvatus was always one
step ahead of his contemporaries. For his winning piece in ArtPetron 2 he used red car paint
Garcia won the mostwhite he etched with a white primary base his figures to come up with a
toned down but still celebratory image of the Pahiyas from his hometown in Lucban. Always
on the experiment for new technologies to debunk old myths found in history or even memory,
he now and then gets to be invited in biennales and residencies while keeping his focus on his
contemporary practice here. A product of UST Fine Arts where he taught for a time, Salvatus is a
CCP 13 Artists Awardee and runs his art collective 98B virtually or wherever he is.
ARTURO SANCHEZ JR. (b.1980)
Sanchez is proof that someone so technical can be the most artistic. Sanchez took up architecture
at the Technological Institute of the Philippines. Mirrors have always fascinated Sanchez in fact
his pieces are meticulously done by etching selected magazine images to reflect his art on the
mirror. Based in the art town of two national artists, Sanchez has exhibited in local galleries and
his artworks have participated in the auction houses in Hong Kong and Singapore. He won the
Grand prize Philip Morris Philippine Art Awards 2013.
CJ DE SILVA-ONG (b. 1987)
De Silva-Ong is a graduate of UP Diliman College of Fine Arts and award winning creative director
at TBWA\Digital Arts Network. Right after graduating, she handling brands where she has been
recognized in local and international shows: she has won in AdFest, Spikes Asia, One Show,
D&AD and is part of the team that bagged the country’s first Webby.
CJ is also a well-known painter. Versatile in her own illustration, her book covers for Sen Miriam
Santiago “Stupid is Forever” have recently been lauded.
48
RONALD JERESANO
Social realism served its artistic purpose the turbulent times during Martial Law. With its
strong political content the movement’s aesthetics revolves around anatomies of people as
allegories to the dark perils of our country. Jeresano is a proud heir to social realism as his
images speak of ouremancipation as a nation. He has won other major art competition and
had solo exhibitions locally and abroad.
RAFFY NAPAY (b. 1986)
From two-dimensional works, EARIST graduate Napay shifted into threads and fabrics
into his canvases. Often dealing with his personal life, he stitches, tufts and weaves
stories from memory. He has won in Metrobank Arts and Design Excellence, Ateneo Art
Awards 2013. He had artist residencies in Artesan Gallery and Studio in Singapore in 2013
and Liverpool Hope University in Liverpool United Kingdom last year. He just attended
the Florence Biennale in Italy where he won the Silver Award.
JAMES ONA (b.1986)
Despite the surplus of the DSLR cameras it takes an amount of time and dedication for a
master lensman to emerge. Trained as a photojournalist in his alma mater PUP Manila,
Ona would eventually cover more important events for his corporate clients. He does art
photography for Studio 5 Designs coffee table book projects. He continues to work and teach
for PUP Manila.
PAUL QUIAMBAO (b.1991)
Quiambao is a photographer who seeks to elevate photography into the art form it rightfully
deserves. School spirit runs deep for him UST in particular where he graduated with a degree
in architecture. With his loyalty and perseverance Quiambao has been bestowed as UST’s
quadricentennial photographer during its celebration in 2011. Motion and depth best describe
his images. Remote islands have of late fascinated him most specially Batanes which he has
visited many times over and photographed extensively.
ORLEY YPON (b.1973)
When Ypon won in the first ArtPetron in 2001, National Artist Napoleon Abueva commented
that “he has Amorsolo’s light.” Based in Cebu, Orley is one of ArtPetron’s first grand prize
winners and its first hall of famer for painting. A self-taught artist, realism has been Ypon’s
trademark having been influenced by the master Martin Abellana. He had an art residency
last year at the Artist Renewal Center in New York. The first hall of famer in Painting, Ypon
has come full circle as a judge in the recent Vision Petron. His first solo exhibition Bidlisiw
(sunrays) at the Altro Mondo Gallery is still ongoing.
Biographical notes by Jay Bautista
49
milestones
FIFTEEN YEARS OF
VISION PETRON
and thousands of
entries after
50
2001
Petron launches ArtPetron: National Student
Art Competition, a painting contest for
students enrolled in colleges and universities
nationwide. It also opened the contest to
student of museum-based painting classes,
a first in the realm of art contest.
Petron President and VPs were part of the
judging process.
ArtPetron exhibits in Ayala Alabang.
2006
Petron launches Brushstrokes from the Heart: The First Five Years of ArtPetron
by Dr. Alice Guillermo. The book won the Alfonso Ongpin Prize for Art at the 2006
National Book Awards. A reunion exhibit was organized to coincide with the
awarding ceremonies and book launch.
2004
Petron adds Photography as a category,
another first for a national art competition.
2007
Two National Artists (Billy Abueva and
BenCab) Co-chair. Petron decorates
its 41st and 42nd Executive floors
with ArtPetron winning works. Petron
launches ArtPetron Folio, an arts and
culture magazine for Filipino youth.
51
2008
ArtPetron organizes the first-ever
Deans Dinner with 12 Fine Arts deans
in attendance.
2009
ArtPetron organizes the
second Deans Dinner with
17 deans in attendance.
2010
ArtPetron 10 invites three National Artists
to judge.
ArtPetron awards total 65
2011
SMC buys Petron. ArtPetron now
renamed “Everyone’s Vision Petron”
Exhibits mounted at the CCP and
SM Megamall
Vision Petron visits 20 schools in
Metro Manila, Luzon, Visayas, and
Mindanao. First cities visited were
Vigan, Baguio, Tarlac, Cebu and Davao
The contest include T-shirt Art Design
as a new category.
52
2012
2014
Vision Petron awarding and exhibit is set at
the National Museum.
Vision Petron opens its Facebook Page
(now with almost 7,000 members).
Vision Petron garners the highest number
of submission with 2,828 entries
2013
Petron turns 80 years.
Vision Petron adds video-making as
its 4th category, attracting all possible
creative expression of the youth.
Vision Petron Collaterals are awarded
the prestigious Anvil Hall of Fame
Award by the Public Relations Society of
the Philippines at the 48th Anvil Awards
2015
Award-winning scriptwriter Ricky Lee and
respected film and TV director Laurice Guillen
conducts a video-making workshop attended
by 75 students from 43 schools
53
15 Years of Promoting Philippine Art,
Culture and Heritage to the Filipino Youth
54
55
Grand Prize Winners
Painting - Oil/Acrylic
1
56
2
1
Wencyl Urieta
Smile! All is Well!
Oil/Acrylic - 121.92 cm x 91.44 cm
2
3
Modesto Samonte Jr.
Hapag Ng Kagalakan
College of the Immaculate
Conception
3
Weriel Mallari
Libre Lang Maging Masaya,
May Sukli Pa
Tarlac State University
57
Grand Prize Winners
Painting - Water-based Media
1
1
2
3
Eric Perreras
Weriel Mallari
Arman Jay Arago
Aanhin ang Masarap
na Ulam Kung
Wala Naman ang
Magulang
Museo ng Angeles
Water-based Media
109 cm x 80 cm
Basaan sa San Juan
Water-based Media
109 cm x 80 cm
Surprise
Kulay Diwa Gallery
Water-based Media
22.86 cm x 66.04 cm
58
3
2
59
Grand Prize Winners
Photography
2
1
1
Reyjie A. Baluyot
Amigo
Southern Luzon State
University
2
Joel Policarpio
Mga Anghel sa Calangitan
Museo ng Probinsya ng
Tarlac
3
3
Jenevie O. Estrella
Shadow + Play
Partido State University
60
4
5
4
Vincent Gerard dela
Rosa
Sumisilip na Kasiyahan
Tanauan Institute
5
Jana Patricia Padre Juan
Ingiti Mo
EARIST
6
Jal Valdez
Liguan Na!
Adventist University of the
Philippines
6
61
Grand Prize Winners
T-Shirt Art Design
1
Deo Carlos Amarante
Happinas
EARIST
2
Jonathan Villalobos
Hiling
University of the
Cordilleras
3
Ejem Alarcon
Lakbay Kasiyahan sa
Aming Munting Tahanan
PUP Lakandayang Cultural
Association
1
62
2
3
63
Grand Prize Winners
Video-Making
1
Anne Catherine Malazarte
Tingnan Nang Malapitan,
Damhin ng Malaliman
University of San Agustin
2
Rizzelle Mae Santiago
Lipad
Nueva Ecija University of
Science and Technology
3
Vyankka Balasabas
Para Sa’yo Kaibigan
1
64
2
3
65
Runners-up
2
1
1
Marjean Claude Samonte
Tara let’s! Ligo sa ulan!
Imus Computer College
(Imus Main Campus)
2
Kurt Morris Rojas
Cradle of Happiness
3
3
Garry Allen Watin
A Celebration of Life
Kimsoy Yap Summer Art Workshop
66
Runners-up
1
3
1
Jirah Labanza
The Harvest of Abundant Joy
Iloilo Science and Technology University
Water-based Media - 101.6 cm x 76.2 cm
2
Wencyl Urieta
Biruan
Museo ng Bulacan
Water-based Media - 96.52 x 96.52
3
Aldrin Ryan Apostol
Bigyan Natin Ng Kulay Ang Bawat Hakbang
Cebu Technological University
2
67
Runners-up
Photography
1
Jenevie Estrella
Swing Low
Partido State University
2
Reyjei Baluyot
The Filipino Resiliency
Southern Luzon
State University
3
Jerrica Sabariaga
Sarap at Saya ng Pagiging Bata
Technological University of
the Philippines
2
3
1
68
4
5
4
Ren Stephen Dingli
Alapaap
5
Joel Policarpio
Repleksyon ng Makulay na
Samahan
Museo ng Probinsya ng Tarlac
6
Ferdianne Antonie Bermudo
Splash of Fun
Bataan State Peninsula
University
6
69
Semi-finalist
1
2
1
John Verlyn Santos
Memories Last Forever
Bahaghari Art Workshop
2
Junenard Pasion
Pagpapala sa Gumabay at
Nagtagumpay Kasiyahang
Walang Kapantay
Lakandayang Cultural Group
3
Eunico Arellano
Sa Likod ng Aming Kasiyahan
EARIST
3
4
4
Jashiel Dominique Ramos
Vision of the Inner Us
Oil/Acrylic - 91.44 cm x 121.92
70
5
7
5
Eric Perreras
Picture is Perfect When It’s Full of
Happiness
Museo ng Angeles
6
Jayme Emille Lucas
No Place Like Home
7
Christian Macalinao
Smile Pilipinas!
EARIST
6
9
8
John Raphael Carloto
Masaya na Kami
Technological University of the
Philippines
9
Franklin Cajumban
A Ride to Eternity
Laguna State Polytechnic University
8
71
Semi-finalist
1
Jhon Michael Macariola
Aking Alaala, Aking Kayamanan
Lakandayang Cultural Association
2
Kevin Cubinar
Happy Fiesta
Pamantasan ng Lungsod ng Maynila
3
Benjamin Alba Jr.
Mga Ngiti Pagkatapos ng Dalumhati
Kulay Diwa Gallery
4
Jessie Tadeo Jr.
Minsan Lang Tayo Bata
2
3
1
4
72
7
5
Christian Jaime Maglente
Joy is Not in Things, It is in Us
EARIST
Water-based Media
76.2 cm x 101.6 cm
6
Lymuel Bautista
Panibagong Simula
Kulay Diwa Gallery
Water-based Media
76.2 cm x 101.6 cm
5
7
8
Dhax Daryl Daleth Reyes
Kaligayahan sa Kabila ng
Lahat
Water-based Media
50.8 cm x 76.2 cm
8
Roland Llarena
Burador
Iloilo Science and
Technology University
Water-based Media
62 cm x 57 cm
9
9
Ma. Elena Defeo
Action to Happiness
PUP Manila
Water-based Media
6
76.2 cm x 50.8 cm
73
Semi-finalist
T-Shirt Art Design
1
2
1
Rachel Batislaong
Mga Batang Espanya
FEU Manila
2
Jonathan Villalobos
Real Happiness
University of the Cordilleras
3
3
4
Deo Carlos Amarante
Lakbay Kasiyahan Para sa
Pinagpalang Bansa
EARIST
4
Ejem Alarcon
Pananampalatayang Walang
Hanggan
PUP - Lakandayang Cultural
Association
74
5
Timothy Bryle Flores
Roadtrip with An Extended Family
Mapua Institute of Technology
6
Jirah Pastrana
Happiness Through Peace and Love
7
Maria Elena Defeo
Keep Going!
PUP Manila
8
Anika Biene Padrigo
Kung Bakit Tinatawag na Happy
Lang, Walang Ending Ang Aming
Kwento
Mapua Institute of Technology
6
9
Chriskindle Joy Santiago
Pyesta
De La Salle College of St. Benilde
5
9
8
7
75
board of judges
Painting
Judges
Clockwise from top:
Mary Ann M. Neri
Alfred Esquillo Jr.
Elmer Borlongan
Orley Ypon
Felice P. Sta. Maria
Danilo Dalena
Hon. Benedicto Cabrera
HON. BENEDICTO CABRERA (Chairman)
ELMER BORLONGAN
His career began immediately after graduating with a Fine Arts
degree from the University of the Philippines. As a master of
Contemporary Philippine Art, he was conferred National Artist
for Painting in 2006. He has been based in Baguio City since 1986
where he built a world-class museum of Philippine indigenous
and contemporary art. A retrospective of his works among
various museums is ongoing until next January. BenCab has been
Vision Petron judge since 2005, and this year he chairs the board
of judges for the third time.
A fine arts graduate of the University of Philippines, Elmer
was a member of the progressive art groups Saling Pusa and
Sanggawa. A recipient of the prestigious CCP 13 Artists Award in
1994, his works are in the collection of local and Asian galleries
and museums. Hi solo exhibition, Pinoy Odyssey, is ongoing at
the Canvas Gallery and Garden.
FELICE P. STA. MARIA
Felice is an internationally awarded non-fictionist. She advocates
the use of cultural development so individuals and societies can
discover their most excellent and honorable capabilities. She is a
trustee for the National Museum of the Philippines and Museo ng
Kaalamáng Katutubó, as well as an advisor to the Ayala Museum.
Felice has been Vision Petron judge since our inception 2001.
DANILO DALENA
Born in Pakil, Laguna Danny started out as an illustrator for the
Free Press and Asia Philippines. A fine arts graduate of UST, he
was known for incorporating humor and wit in his contemporary
art. He was part of the first CCP 13 Artist Awards in 1972 and won
the first Mobil Art Awards. This is his fourth time as judge.
ALFRED ESQUILLO JR
A fine arts graduate of UST, Alfred won almost all major local
art contests including the grand prize in the Philip Morris
Asean Art Awards. A recipient of the CCP 13 Artists Award
in 2000, he just had an exhibition of his works in 3D at the
Secret Fresh Gallery in San Juan last July. His latest exhibition
Transfigurations is ongoing at Arndt Berlin.
ORLEY YPON
Based in Cebu, he is one of ArtPetron’s first grand prize
winner, and our first hall of famer, he has exhibited locally and
internationally. A self-taught artist, Ypon also won other art
competitions including an artist residency last year at the Artist
Renewal Center in New York. His first solo exhibition Bidlisiw is
still ongoing at the Altro Mondo Gallery.
76
Photography
Judges
DENISE WELDON
Denise graduated from the Wheaton College in Boston where
she is the first recipient of the Miriam F. Carpenter Prize in
photography to be honored for two conservative years. She is
a much sought after portraitist. She mounted a solo exhibition
of her black and white photographs entitled Water Spirit at the
Silverlens Art Gallery last year.
WIG TYSMANS (Chairman)
Wig is one of the country’s top portraitists and commercial
photographers whose career spans to almost 40 years. An
architecture graduate of St. Louis University, he just finished
a coffee table Inabel Iloko and is currently shooting for the
centennial coffee table of the Philippine Senate for Studio 5
Designs. He has been our chairman in the photography category
since its inception in 2004.
EDWIN TUYAY
GEORGE TAPAN
FRANCIS ABRAHAM is the photographer of choice by
Manila’s “movers and shakers” as well as the top advertising
agencies. A veteran of 18 years in the industry of advertising
photography, he has been awarded a Gold Araw Award for Print
Campaign in the 2001 Advertising Congress of the Philippines.
Recognized and sought after by the fashion industry, he has
photographed Manila’s most beautiful faces.
George is one of the country’s top travel photographers. Among
his coffee table books are Southeast Asian Art and Culture,
Filipina, Our Natural Heritage (DENR), The Landscape of
Ildefonso P. Santos, Palawan Islands and Dipolog City. He won
first prize in the Places category of the National Geographic
2012 Photo Contest and the PATA Gold Award for Best Travel
Photo for same year.
JEREMY BARNS
Jeremy is the Director of the National Museum of the Philippines.
He is spearheading the upgrading and improvement of all the
agency’s central museums, as well as regional and site museums
throughout the country, and is also working to establish the
National Museum of Natural History in Rizal Park, scheduled to
open late this year, to highlight Philippine biodiversity.
77
Edwin’s photojournalism career began with the Manila Chronicle
which permitted him to cover Office of the President, Defense,
and Senate beats. Today, Edwin travels all over Asia to shoot
presidents, prime ministers, celebrities and taipans. He is
currently shooting for the Petron coffeetable book on the Petron
RMPII project.
Left to right:
Francis Abraham, Jeremy Barns,
Denise Weldon, Mary Ann M. Neri
Wig Tysmans, George Tapan,
Edwin Tuyay
board of judges
T-Shirt Art Design
Judges
RAUL ISIDRO (Chairman)
JONATHAN JAY ALDEGUER
Raul is a well-respected abstract painter
specializing in lithography and printmaking. He
has held important positions such as president
of the Printmakers Association of the Philippines
(PAP), Art Association of the Philippines (AAP) and
as dean of Philippine Women’s University College
of Fine Arts. He chairs again the T-shirt category
for the fifth time.
Jay is the President and CEO of the Islands Group
based in Cebu. The youngest to be awarded the Ten
Outstanding Young Men (TOYM), Islands Souvenirs
has more then 100 outlets locally and abroad.
He has been recently been appointed founding
curator for Global Shapers Community Cebu hub.
Jay’s main advocacy is to spread the culture of
entrepreneurship in the Philippines.
BG HERNANDEZ
DAN MATUTINA
BG is Creative Director and Vice President of
Studio 5 Designs, a pioneering graphic design
company specializing in corporate collaterals and
publications like the annual report of Petron for
the last three years. BG is a multi-awarded graphic
designer who designed the New Generation bank
notes. He has designed more than 30 coffee table
books and recently finished Lightning The Second
Century and Coconut Champion: The Franklin
Baker Story.
A graduate of UP College of Fine Arts, Dan
Matutina is a designer and illustrator based
in the Philippines who loves to mix handmade
and digital, clean and duty, as well as old
and new aesthetics. He combines colors with
different textures and shapes to tell a story. In
2013, Matutina was awarded the Art Directors
Club Young Guns Award (YG11) and is also the
co-founder of Plus 63 Design Co, a Manilabased design studio. Among his clients include
publications like Fast Co., Wired, Foreign Policy,
Wall Street Journal, and The Guardian.
Left to right:
Bg Hernandez, Dan Matutina,
Raul Isidro, Mary Ann M. Neri,
Jonathan Jay Aldeguer
78
Video-making
Judges
Left to right:
Ricky Lee, Mary Ann M. Neri, Laurice Guillen,
Raymond Red, Romy Vitug
LAURICE GUILLEN (Chair)
Laurice is a protégé of the late National Artist Lino Brocka,
Laurice began her first major work as a director with Init
sa Magdamag. Her other acclaimed films include Salome,
Ipagpatawad Mo and Dahil Mahal Kita: The Dolzura Cortez
Story. In 2006 she was awarded the Gawad Tanglaw ng Lahi by
Ateneo de Manila University for services to the Arts. She headed
the organizing committee in the past five years of the Cinemalaya
Philippine Independent Film Festival. She is currently doing a
drama series for a major television network. It is her second year
to chair the video-making category.
ROMY VITUG
Romy started as a photographer for the Manila Chronicle. As one
of the country’s foremost cinematographers with more than 50
feature films to his credit, he has won every major award in his
field including the first FAMAS Hall of Fame and the Parangal
Patnubay sa Kalinangan for Cinematography. He currently
supervises the production of a sitcom in a major television
network. Mang Romy has been with Vision Petron since the
inception of photography as a category in 2004. He chaired our
first video-making category two years ago.
RAYMOND RED
Raymond is one of the pioneers of modern Filipino independent
and alternative cinema. Having a background in Fine Arts and
photography, Red immediately gained recognition by winning
awards and citations, both locally and at the international film
festivals, including the prestigious Palme d’Or award at the 2000
Cannes Film Festival for his short film Anino. A retrospective of
his films was shown at the Guam International Film Festival.
He was a member of the jury at the Berlin International Film
Festival. His new film Mga Rebeldeng May Kaso for Cinema One
Originals where during the festival awards he was honored for
his achievement.
RICKY LEE
Ricky is the most-awarded scriptwriter in the Philippines. He has
written 160 film scripts, earning him more than 70 trophies from
award-giving bodies, including three life achievement awards
from the Cinemanila International, the Gawad Urian, and the
PMPC respectively. He is also the recipient of UP Gawad Plaridel,
as well as one of the Gawad CCP awardees for this year. Among
his films are Himala, Anak, Jose Rizal, Muru-Ami, Dubai, Nasaan
Ka Man, and Bagong Buwan.
MARY ANN M. NERI
Ana is the Assistant Vice President for Marketing of Petron
Corporation. Under her guidance Petron’s youth program for the
arts and culture has progressed to a bigger advocacy through
Vision Petron.
79
appendices
PHOTOGRAPHY GRANDPRIZE
Pacifico R. Jose Jr.
Zambales Palay
Charles J. Buenconsejo
Mais
ArtPetron 1 - 2001
ArtPetron 3 - 2003
PAINTING GRANDPRIZE
Orley Y. Ypon
Ober-Ober
Oil on Canvas, 91.44 cm x 121.92 cm
PAINTING GRANDPRIZE
Fernando F. Ramos Jr.
Buhay Katutubo sa Pinatubo
Oil on Canvas, 100 cm x 150 cm
Romeo Jose E. Rosete III
Tatsing
Ian Cesar L. Cheng
Battle of Paye
PHOTOGRAPHY RUNNERS UP
Charles Buenconsejo
Kani-paan
Robert Nelson V. Besana
Manwal
Oil on Cavas, 121.92 cm x 121.92 cm
Rexell S. Livelo
Paoay Church
Oil on Canvas, 88.96 cm x 122 cm
Jophel Ybiosa
Ang Ani ni Annie
Yveese J. Belen
Piko: Alay Kay Mahal
Watercolor, 55.88 cm x 73.66 cm
Clint P. Normandia
Busay
Romeo R. Forbes Jr.
Karera ng Tsinelas
James Neil DL Viola
Hintayan sa Pola
Ricky V. Ambagan
Sa Kanlungan ng Kamusmusan
(Kadang-kadang)
Ada Grace M. Venci
Bahaghari sa Tagolami
PAINTING RUNNERS UP
Roldan C. Ventura
Sungka
Mark Ramsel N. Salvatus III
Istar Player
John Paul V. Antido
Red Team
Ka-Bao
Maria Jeromia L. Pujeda
Patintero ng Kuya Ko
Clifford John R. Tolentino
Dahil sa Ulan, Iba Naman
ArtPetron 2 - 2002
PAINTING GRANDPRIZE
Parker E. Encisa
Saling-Galing
Oil on Canvas, 123 cm x 122.5 cm
Guijo H. Dueñas
The Gathering
Kym A. Sanchez
Si Tsong at ang Mga Tilapia
Albert Manuel dela Rosa
Sweetest Pick of the Day
PAINTING GRANDPRIZE
Angelo B. Tabije
Hinabing Simbuyo sa Bagong
Panagimpan
Clarence A. Cantiveros
The Dream Weaver
Arturo T. Sanchez Jr.
Higanteng Sining
PAINTING RUNNERS UP
Lance Kirby Yaneza
Naghimo Og Banga
Joemel G. Mirabuena
Hagdan Sang Padulungan
Watercolor, 60 cm x 79.8 cm
Jansen Peter N. Salvatus
Kay Apo
Christiana Jade M. de Silva
Unang Guro, Unang Kaibigan
Mark Ramsel N. Salvatus
Tierra Santa
Watercolor, 91.5 cm 91.5 cm
Nomar B. Miano
Panagkot Kaupod Si Lolo
Watercolor, 56 cm x 75 cm
Joey V. Cobcobo
Terrace of Living Tradition
Watercolor, 77.5 cm x 95 cm
Mark Andy R. Garcia
Punong Puno Ng Pag-ibig
PAINTING RUNNERSUP
Ryan P. Rubio
Heart Talk
Vicente T. Pado Jr.
Tampisaw
Kristoffer Tolentino
Sining Pinoy
James Bryan K. Ona
Quiapo Bridge: Tulay ng Kalakalan
at Hanap-Buhay
Johnson C. Lopez
Buhay Kubo
Dave J. Buenconsejo
The Lighthouse of Liloan After a
Rain
Jaime B. Gubaton
Shoe Specs
Marilaine Claudette G. Gapal
Lipa Church
Nomar B. Miano
Furnace Living
Gualberto M. Licong Jr.
Pamana ni Itay
Dave J. Buenconsejo
Observing Grandpa Make Native
Hats
Maria Charmaine D. Laino
Tagagawa ng Barong
John Paul V. Antido
Sa Paskong Darating
Rochelle S. Cruz
Night’s Catch
Joey V. Cobcobo
Antique Revision
Emmanuel E. Servito
Lambat ng Kasaganahan
Ryan R. Jara
Matagumpay na Plano
Jaime B. Gubaton
Rhythms of Cloth Production
Jose Pempe Y. Ybañez
Kurantay
Watercolor 71.12 cm x 96.52 cm
Xavier Abelador
Maytep
55.88 cm x 76.20 cm
Antonio M. Totto Jr.
Taka Ka Pa
Darby Vincent A. Alcoseba
Buhay Dagat
Watercolor 56 cm x 76 cm
Pacifico R. Jose Jr.
Nanay Ko Na, Titser Ko Pa 2005
PAINTING RUNNERS UP
Munting Museo
PAINTING RUNNERS UP
Mark Andy Garcia
Poultry Raising: Daan sa Makulay
na Umaga
Romulo G. Oñate II
Saling Kaalaman 2005
Jophel B. Ybiosa
Sto. Niño ni Niña
Charles Nikolas J. Buenconsejo
Father’s Son 2005
Jophel B. Ybiosa
Kultura ng Kasuotan
Abraham Belen
Pagmamahal
Children of the Fields 2005
Alex P. Ordoyo
Connecting Our Culture in Our Own
Hearts
Maria Jeromia L. Pujeda
Maskara ng Pag-ibig
Anne Karla D. Rivera
Alay Kay Emilio
Fernando F. Ramos Jr.
Kanlunga’t Kwento ni Pedro nang
Iloilo
PAINTING GRANDPRIZE
John Paul V. Antido
El Viaje de Familia
Jeffrey E. Salon
Lumang Bago
Jesus Rona
Corn Harvest
Angelo B. Tabije
Monumento
Antonio M. Totto Jr.
Ramos Family of San Miguel,
Bulacan
ArtPetron 5 - 2005
Edgar C Daguinotas
Buhay Napiin
91.5 cm x 122 cm
Wilfredo F. Rufon
Sto. Niño Imahen ng Cebu
PAINTING RUNNERS UP
Julmard D. Vicente
Ang Naiwan Palalatandaan
Jeffrey E. Salon
Bayanihann (Punta Capones
Lighthouse)
Florentino G. Impas Jr.
Abundang Ani
Romeo Rosete E. Rosete III
Pamana ni Lola
Ronald L. Jeresano
Revealed History, Behind Mystery
Jaclyn G. Wong
Gitarang Mabutingting
Redentor L. Castillo Jr.
Family Reunion: Sariwain ang
Nakaraan
Mark Ramsel N. Salvatus III
Balwarte ni Lolo, Ang Aming Munting Kastilyo
Julmard D. Vicente
Rangtay
74.93 cm x 101.6 cm
Elaine Therese Basilio
Popeye The Fisherman
Yveese J. Belen
Mga Anghel ng Burol
PAINTING GRANDPRIZE
Orley Y. Ypon
Pamaling
ArtPetron 6 - 2006
Judeo R. Herrera
Okir-Okir
Judeo B. Herrera
Malikhaing Umpisa, Makulay na
Pagsasama
ArtPetron 4 - 2004
Milven A. Guzon
Kaibigan
Gerald B. Mungcal
Royal University
Eva Salazar
Paggapas
PAINTING RUNNERS UP
Mark Andy R. Garcia
Makulay na Hagdan At Masayang
Palayan Ang Ating Simpleng
Kayamanan
Jose Pempe Y. Ybañez
Highway in the Sky
Watercolor, 53 cm x 74.38 cm
Lowienor C. Lee
Precious Moments
Mark Lester J. Cayabyab
Crayon Forum 2005
Dorothy May Tabaque
Paggalang 2005
Ryan P. Rubio
Bakal, Ilaw, Pintura, Makina,
Tornilyo, ang Mga Gamit sa
Paggawa ng Jeepney ni Itay
Mark Andy Garcia
Punong-puno ng Matatamis na Ngiti
Kids in the Late Afternoon
Fernando Ramos Jr.
Lupaing Ani’y Sagana, Pamana ni
Ama’t Ina
Romulo G. Oñate II
Bahagian
Rommel Cahucom
Halina Gumawa ng Maskara
Melbourne Paano
Palina sa Panagat
Hilarious E. De Jesus
Dibuhong Masinsin
Marlaine Claudette G. Gapal
Wood Carver 2
Romulo G. Oñate II
Abstraction in the Making
James Bryan K. Ona
Karunungan Mula Kay Lola
Dave J. Buenconsejo
Guitar-Making
Maria Charmaine D. Layno
Bangang Gawa sa Kamay
Marie Rose Angeline G. Gapal
Kalesa Maker
ArtPetron 7 - 2007
PAINTING GRANDPRIZE
Raffy T. Napay
Lupang Pinagpulungan, Lupang
Libingan
Nikko M. Santos
Tulay ng Magkakaibigan
Emerson F. Guiam
Alaala
Siegfried R.S. Perez
Cutting with Our Hands, Healing
with Our Hearts
Dave F. Alarcon
Batanes (bahay na Bato)
Kauahayan Du Vatan
80
Jemerson M. Magay
Brave
Dave Arjay A. Tan
Nahawing Ulap sa Hangin ni
Bonifacio
Jo-Ann C. Bolis
Binondo
Dave J. Buenconsejo
View of the Cebu Cathedral from a
Car Window
Jo-Ann C. Bolis
City Hall and Intramuros
Al Ameer Marco C. Lawan
The Traditional Filipino Arko
Rafael B. Dorilag
Tulay ng Malagonlong
Maria Charmaine D. Layno
Paco Park
Graziela O. Isidro
Tribute to the KKK Monument
ArtPetron 8 - 2008
PAINTING GRANDPRIZE
Blaine Louie A. Rosales
Ipagpatuloy ang Daloy ng Alon
Ronald L. Jeresano
Panatang Obra
Christian Erick R. Villaruz
Massquerade
Rommel C. Ramota
Ang Pundasyon ng Kasiyahan
Gerald B. Mungcal
Mga Nakakubling Ngiti ng
Pagdiriwang
Alex P. Ordoyo
Dinagyang Festival
PAINTING RUNNERS UP
Marc S. Salamat
Pakitanggilas
Jesus R. Tejada
Pintados Festival
Evan Joshue G. Tiu Ng
Bangus sa Palengke
Michael Art M. De Leon
Sama-sama Hanggang sa Dulo
Mishael Jacob L. Pueblas
Nagmula sa Bukiran, Ngayo’y Nasa
Bayan
Keith Paras
The Festival of Smiles
Mark F. Miclat
Aming Pista, Aming Pinanghuhugutan ng Lakas
Ronson C. Culibrina
Ibang Gawi, Ibang Lahi
Vincent L. Kho
Baguio Market Place Ronel Peren P. Pangan
The Colors of the Sea
Paul Allyson R. Quimbao
Market in Motion
Karlo Emmanuel M. Victoriano
The Fruit of Labor
Roel Robert G. Aquino
Lambat ni Totoy
Cherry Mae J. Pinoliad
Magtanim ay Di Biro
T-SHIRT ART DESIGN GRANDPRIZE
Emil Aldrine B. Alarcon
Lakbay Pinoy Patungo sa Pag-unlad
Kathleen Joy F. Gonzales
Juan Ride
Welder
Renz D.R. Bautista
Trip to Happiness
Hadrian M. Aguilar
Buwad
Vision Petron 12- 2012
Hadrian Aguilar
Sunset’s Rewards
Alyssa Marissa F. Africa
Pagbuo ng Kinabukasan
Niña Karla T. Bacos
Planting Trees at La Mesa Eco Park
Vision Petron 13 - 2013
PAINTING GRANDPRIZE
Noel M. Elicana
Perspective
PAINTING GRANDPRIZE
Lance Kirby T. Yaneza
Kakambal Ko ang Kalikasan
Bernardo S. Cabugnason
Pasalamat
Edu P. Perreras
Success Comes From In a CAN not
a Cant
Salvador M. Bañares Jr.
Hope Oil on Canvas, 92.16 cm x 121.92 cm
Emil O. Reambillo
Unending Journey
Arnold D. Lalongisip
Susi ng Tagumpay
50.8 cm x 76.2 cm
Chrisanto N. Aquino
Sa Pagdating ng Isang Anghel
111.76 cm x 99.06 cm
Don Bryan Michael R. Bunag
Magkaibang Magkaibigan
Don Bryan Michael L. Bunag
Walang Hanngang Karangalan
76.2 cm x 101.6 cm
Vincent C. Kho
Sinulog Festival
Al Ameer Marco C. Lawan
Isda:Paboritong Pagkain ng Tao
at Pusa
Paul Allyson R. Quiambao
Season of Grace
Reselda T. Tapnio
The Colors of Health
PAINTING GRANDPRIZE
Dale M. Erispe
Lakbay ng Walang Katapusan
Ronel Peren P. Pangan
Fish Selector Men
Michael V. Froilan
The Path to Life
John Mark L. Saycon
Salamin ng Buhay
PAINTING RUNNERS UP
Dave B. Cruz
May Mataas na Pangarap
Erick E. Salon
San Juanico Bridge: The Golden
Bridge
Arman Jay S. Arago
Pagkamulat
91.44 cm x 60.96 cm
Marvin E. Quizon
Ngayon Araw Ikaw ay Dumating
Oil on Canvas, 91.44 cm 121.92 cm
Mark Kelvin M. Benitez
Lakbay Aral
PAINTING RUNNERS UP
Arman Jay S. Arago
The Rebuilders
Weriel Mallari
Una’t Huling Pag-ibig
Karl P. Albais
Living on a Prayer
Crisanto G. Sator
Man and Nature
Arman Jay S. Arago
Tagumpay na Pagsilang
Arnold D. Lalongisip
Dugtungan ng Lahi
Michael B. Pamonag
Kaligkasan
Oil on Canvas,121.92 cm x 121.92 cm
Gieward J. Hulagno
Hanggang Papaghiwalayin Tayo ng
Kamatayan
PAINTING RUNNERS UP
Amadeo B. Cristobal
Yu-Pi, Yumapak sa Pinitak
92.16 cm x 122.88 cm
Neil Bryan DC Urbano
Perlas ng Silangan
Mark Lester E. Espina
Inspirasyon sa Tagumpay
Mark Kevin M. Benitez
A Carabao’s Bacon
Marcelino L. Bugaoan Jr.
Indayog
Alexa M. Remalante
Lugod
Mari Rose Angeline G. Lim
Apung Iru Festival
Hadrian M. Aguilar
Pagkakaisa Ng Mga Kulay
Jophel B. Ybiosa
Wow Pista
Ronel P. Pangan
Imbayah Festival (Wooden Scooter
Race)
Crisanjoy M. Sto. Tomas
Line for Perfection
Catherine Michelle T. Aragoncillo
Bangkero Festival Float
Joanna Marie C. Gonzales
Araw ng Pasig
Vincent C. Kho
Karukatik Festival
ArtPetron 9 - 2009
PAINTING GRANDPRIZE
Arel A. Zambarrano
Madinuagon Nga Mga Tapak sa
Merkado Nga Malutak
(Colorful Footprints on the Mud of
the Market of Life)
Jareds C. Yokte
Pera at Bayong
Lance Kirby T. Yaneza
Intayon Kapwa-an Dak Man Nga
Mapan Diay Dapon
Mark F. Miclat
Byaheng Gulay
Emil Jay B. Guiang
300
Darby Vincent Alcoseba
Tabo – Convergence of Buyers and
Sellers
PAINTING RUNNER UP
Ariel N. Caratao
Ylaya St. Divisoria
Amadeo B. Cristobal
Buhay Luntian
Paolo S. Marin
Tila Isang Munting Palengke Sa
Makulay Kong Ulo
Alex P. Ordoyo
Tienda sa Amon Guimaras
Jefferson P. Padlan
Magandang Kalakalan, Matibay na
Ugnayan
Vincent L. Kho
Baguio Meatshop
Michelle T. Aragoncillo
Makulay na Gulay
Mishael Jacob L. Pueblas
Ginoong Palengke
Richard A. Reyes
Market’s Mirror
ArtPetron 10 - 2010
PAINTING GRANDPRIZE
Jeffrey E. Salon
The Vision
Mark Lester E. Espina
Byahe Patungo Sa Aming Mga
Pangarap
106.68 cm x 106.68
Jeminic G. Real
The Filipino Community Magazine
Dave B. Cruz
Sa Tamang Destinasyon
122.88 cm x 92.16 cm
Gib Sam G. Salak
Explorers PHOTOGRAPH RUNNERS UP
Rhadsley R. Inguillo
Solid Waste Management
Ezra L. Acayan
Basaan
Elizabeth Alag
Little Neighbor
Melcharo J. Tumbiga
Champion Ako
Alexis S. Gapal
Itulak Mo Tungo sa Paraiso
Reu Dawner A. Flores
Hakbang
Gib Sam Salak
Between Mountains
Anthony Francis A. Villalon
Kuntentong Biyaya
Merie Anne S. Camba
Lata at Plastik
Gilbert John Gomez
A Step to Success
Christian S. De Leon
Daybreak
Mardale C. Chu
Juan’s Ride to Adventure
PRINTMAKING GRANDPRIZE
Mitchell S. Domingo
Pawikan and Change
Deo Carlos D. Amarante
Katas ng Tagumpay
Gib Sam G. Salak
Pasada
Hyacinth Lyn M. Laoke
Gandang Kalikasan Mukha ng
Pilipinas
Jirah B. Pastrana
Lakbay Tungo sa Tagumpay
Kiss Thrill John Demetita
A Bridge of New Hope
John Jonar V. Garcia
Anihan 2012
Neil Bryan DC Urbano
Ing Dalan Ning Visitas Iglesias
Queng Palengqui Ning Apu
92.16 cm x 122.88 cm
Mark F. Miclat
Pag-asa ng Mga Munting Pangarap
John Mark L. Saycon
Byahero
Neil C. Defeo
Larawan ng Mabuting Pamayanan
Don Bryan Michael R. Bunag
Promdi
PAINTING RUNNERS UP
Chloe P. Dellosa
Kapit
Oil on Canvas, 106.98 cm 121.92 cm
Meredith B. Gualberto
Pamanang Alaala
Archie Luigi A. Oclos
Ito ang Pamana Ko
Oil on Canvas 121.92 cm x 106.68 cm
Dionamir S. Ceria
Sakay Na!
Alex P. Ordoyo
Service
Watercolor, Oil on Canvas,
55 cm x 75 cm
Karl P. Albais
Puno ng Buhay
Paulino A. Tamayo II
Catch of the Day (Dagupan
Fisherfolks)
Paulino A. Tamayo II
Boatman from Dagupan
Salamin ng Buhay
Kirk Gideon S. Buenconsejo
Scavengers
Michael Lester Feliciano
Plant a Tree
Yawsof C. Marientes
The Preserver
Ezra L. Acayan
Gawgaw
Ma. Yohana R. Frias
Lakbay Kaalaman at Karangalan
Sheila Mae B. De Vera
For the Win
Journey to Love and Happiness
Janica A. Arceta
Kalayaan
Bryan R. Morit
Big Joy of A Little Boy
Jophel B. Ybiosa
Ang Inspirasyon
Chrisanto N. Aquino
Dulot ni Bakawan
Mark Lloyd B. Belicario
Key
Karl P. Albais
Pursuit of Happiness
Kirk Gideon S. Buenconsejo
Ride Under the Rain
Alexis S. Gapal
Success Begins Here
Mark Henrich W. Go
Blur
Lydel S. Buenconsejo
Little Help for Mom
Gib Sam G. Salak
Garota
Eden Joy L. Cruz
Joyride
Energy Saver
Shadows of the Past
Mari Rose Angeline G. Lim
Which Way
Kyrke Stephen B. Jaleco
Volunteers Alexis S. Gapal
Nature’s Black Knights
Marc Henrich W. Go
Life Oliver E, Lagda
Barely Surviving
Sheila Mae B. De Vera
Punla Para sa Bagong Bukas
VIDEO-MAKING GRANDPRIZE
Balaram Ochangco and Eugenio
Christopher B. Tolentino IV
Pitik Mulat sa Maynila
Esmeraldo T. Montero Jr.
Kaya Mo, Kaya Ko, Kaya Nating
Lahat
81
Julius Mikko D. Bayani, Mark Jay D
Felipe, Jerome S. Martinez
Lakbay Tagumpay
Edu P. Perreras
Iniukit ng Panata
Wencyl M. Urieta
Katutubo
Roman Marcus M. Abad
Diwang
Karl P. Albais
Bayan Ko, Ipinagdarasal Ko
Neil C. Defeo
Ka-Juan Gawa
PAINTING RUNNERS UP
Soon R. Unlang
Baliktanaw
Ezra L. Acayan
Eid Mubarak!
PAINTING GRANDPRIZE
Edu P. Perreras
Fulfilling And Caring For God’s Gift
Titus Ira J. Adayon
Kabataan Karunungan, Kalikasan
Eric P. Perreras
Till Death Do Us Part
Melanio M. Bulauitan
Panatang Makabayan: Iniibig Ko
ang Pilipinas
Mark Leo G. Maac
Sa Liwanag ng Tagumpay
Garry Allen V. Watin
A Mother’s Vow
Weriel B. Mallari
Sa Gitna ng Unos
John Mark L. Saycon
Kuwa Taliman
Watercolor, 101.6 cm 76.2 cm
AWARDS
2011
2008
Petron 2011 Wall Calendar: Dynamic
Partnerships
Award of Excellence
10th Philippine Quill
Art Petron 8: Fiesta Collaterals
Award of Excellence
2008 Philippine Quill
2014
Vision Petron 2014: Lakbay Panata
Collaterals
The Anvil Gold Legacy Award
50th Anvil Awards
Collaterals
Award of Excellence
50th Anvil Awards
Award of Excellence
Division 2 Communication
Management
Philippine Quill 2014
Vision Petron 14 Collaterals: Lakbay
Panata
Award of Excellence
Division 3 Communication Skills
2013
Vision Petron 2013: Lakbay
Tagumpay
Award of Excellence
Division2 Communication Management
2010
Art Petron 10 Collaterals
Award of Excellence
46th Anvil Awards
Art Petron Folio 10th Year
Award of Excellence
46th Anvil Awards
2009
Art Petron
Award of Excellence
45th Anvil Awards
Petron 2009 Wall Calendar
Award of Excellence
45th Anvil Awards
Art Petron Market Folios
Award of Merit
45th Anvil Awards
ArtPetron 9: Alay sa Pamilihang
Bayan
Award of Excellence
Vision Petron Collaterals
Hall of Fame and Award of
Excellence
48th Anvil Awards
Art Petron “Markets” Collaterals
Award of Excellence
Vision Petron Folio 12
Award of Excellence
48th Anvil Awards
Art Petron 9 Artist’s Village Website
Award of Excellence
2012
Art Petron Folio “Markets” Issues
Award of Excellence
Vision Petron 12 Collateral: Nurturing Nature
Award of Excellence
11th Philippine Quill Awards
Vision Petron Brushstrokes from the
Heart: A 365-day-e-calendar
Award of Excellence
47th Anvil Award
Vision Petron 11 Lakbay Pinoy
Collaterals Publications (Special
Publications)
Award of Excellence
47th Anvil Awards
Of Hopes and Dreams, 15 Years
of Fueling Hope (For Petron
Foundation)
Award of Excellence
47th Anvil Awards
Petron Wall Calendar 2011: Dynamic
Partnerships
Award of Merit
47th Anvil Awards
Lakbay Pinoy (Journeys to Remember, Pathways to Rediscover)
Award of Merit
47th Anvil Awards
John Christian D. Guevarra
Sapa
Romel N. Dulay
Pisara’t Pangarap
Jeremiah A. Digo
Untangling the Flag
Petron Wall Calendar: Pro-Youth and
Pro-Filipino
Award of Excellence
Harmony
Celine Ann E. Magno
Peksman, Mamatay Man
Jeremiah A. Digo
Alaala ng Suman
Joshua B. Zerda
Panata
Baby Mae C. Palamar
Lakbay Panata
Jophel B. Ybiosa
Panata ng Apo at Lola
Mary Gracenjoy Y. Bermudez
Panatang Ipagpapatuloy
Evangelin B. Diamsay
Panatang Makatapos ng Pag-aaral
Ezra L. Acayan
Mud and Devotion
Art Petron 5 “Relationships” 2006
Calendar
Silver Award
2007 Araw Values Awards
Art Petron 5 “Relationships”
Collaterals
Bronze Award
2004
Silver Award
Art Petron 3 Wall Calendar
Silver Award
Art Petron 4 “Harvest” 2005
Calendar
Bronze Award
Art Petron 2 Wall Calendar
Bronze Award
Art Petron Fiesta Website and Social
Sites
Award of Merit
Brushstrokes from the Heart Coffee
Table Book
Bronze Award
Araw Values Awards
Art Petron 3 Program
Award of Merit
39th Anvil Awards
Art Petron Fiesta Folios
Award of Merit
Art Petron Folio
Award of Excellence
42nd Anvil Awards
Art Petron 3 Website
Award of Merit
39th Anvil Awards
Art Petron 7: Alay sa Palatandaang
Bayan
Award of Excellence
43rd Anvil Awards
Award of Excellence
42nd Anvil Awards
Petron 2003 and 2004 Calendar
Award of Merit
39th Anvil Awards
Petron 2006 Calendar
Award of Excellence
42nd Anvil Awards
Award of Excellence
2004 Gold Quill Awards
Art Petron 6: Alay sa Sining Pilipino
Award of Excellence
42nd Anvil Awards
Award of Excellence
Brushstrokes from the Heart
(The First Five Years)
Award of Excellence
42nd Anvil Awards
2002
Art Petron Website and Social Sites
Award of Excellence
43rd Anvil Awards
Art Petron Folio 2
Award of Merit
43rd Anvil Awards
Art Petron Collaterals
Award of Merit
43rd Anvil Awards
Art Petron Website and Social Sites
Award of Excellence
2007 Gold Quill
Petron Calendar 2005- Lumang Ani,
Bagong Sali
Award of Merit
41st Anvil Award
Art Petron National Student Art
Competition
Award of Merit
2007 Gold Quill
Collaterals: Art Petron 5: Collaterals
Award of Merit
41st Anvil Awards
Art Petron Folio 2
Award of Merit
2007 Gold Quill
Art Petron 6: National Student Art
Competition
Award of Excellence
2006 Gold Quill
Art Petron: Alay sa Sining Pilipino
Program
Silver Trophy Award
The 2nd IMCEA
Award of Excellence
2006 Gold Quill
Art Petron Fiesta Exhibit
Award of Excellence
44th Anvil Awards
Art Petron 6 National Student Art
Competion
Award of Excellence
2007 Gold Quill
Petron 2006 Calendar
Award of Excellence
2006 Gold Quill
Art Petron 8: Alay sa Pistang Pilipino
Award of Merit
44th Anvil Awards
Art Petron Folio
Award of Excellence
2007 Gold Quill
Art Petron Harvest Collaterals
Award of Excellence
2005 Gold Quill
Award of Merit
44th Anvil Awards
Brushstrokes from the Heart
Award of Excellence
2007 Gold Quill
Art Petron 5 Program
Silver Trophy Award
1st IMCEA
Art Petron Fiesta Website
Award of Recognition
44th Anvil Awards
Award of Excellence
2007 Gold Quill
Art Petron Fiesta Collaterals
Award of Excellence
44th Anvil Awards
John Henry B. Pantilanan, Carlo
M. Donadillo, and Jose Daniel A.
Domingo Yan
Hiram
Art Petron 8: Alay sa Pistang Pilipino
Award of Excellence
2007
Art Petron Fiesta Folios
Award of Excellence
44th Anvil Awards
Hector B. Calma, Roni S. Benaid,
and Denise Gail T. Tumibay
Uling
Rosela C. Andal
Serbisyong Kapwa Tao Lakbay Ko,
Panata Ko
2006
Art Petron Fiesta Program: Pro-Filipino, Pro-Youth
Silver Trophy Award
The Tambuli Awards 2009: 3rd
IMCEA
VIDEO-MAKING GRANDPRIZE
Vyankka Pauline R. Balasabas and
Haysonne C. Garol
Para Sa’yo, Inay
82
2005
2003
Award of Excellence
38th Anvil Awards
Award of Excellence
38th Anvil Awards
Petron Foundation Website
Award of Excellence
2001
Art Petron: 1st National Student Art
Competition
Best Creative Tactic
(Given by the Public Relation
Society of America PRSA)
Art Petron Collaterals
Bronze Award
(Highest Award in PR Tools)
37th Anvil Awards
Art Petron: 1st National Student Art
Competition
Award of Excellence
37th Anvil Awards
Award of Excellence
37th Anvil Awards
Award of Excellence
37th Anvil Awards
VISION PETRON
SCHOOLS
YEARS 2011 TO 2015
Abra Valley Colleges
ACLC
ACSAT
Adamson University
Adventist University of the Philipines
Altromondo Mentoring Program
AMA College
AMA Computer college davao
AMA Computer College, East Rizal
AMA Fairview
AMA Sta. Cruz
AMA University
Amang Rodriguez
Andres Bonifacio College
Angeles University Foundation
Art Association of the Phil.
ART Workshop
Asia Pacific College
Asia Technological of Science and Arts
Asian College
Asian College Developing Leaderas in IT and Management
Asian College of Science and Technology (ACSAT)
asian college of tech.
Asian College quezon city
Assumption College of Nabunturan
Ateneo de Manila University - ACFj
Ateneo de Naga University
Bahaghari Art workshop - Bulacan state university
Baliuag University
Bataan Peninsula State University
Batangas State University
Benguet State University
bohol northern star college
BSBA
BSC TUP
BSU
BSU Salay, External Studies Center
BSU- Sarmiento Campus
BSU-Bulacan
BUISU
Bukidnon State University
Bukidnon State University Salay External Center
Bulacan State Universiity
BulSU
Cagayan de Oro College
Cagayan State University
camarines norte state college
Capiz State University
CAPSU Main Campus
Caraga State University
Cavite State University
Cavite State University- Indang Campus
Cavite State University- Rosario Campus
Cavite State University-Main Campus
CBSUA-Calabang
Cebu Academy of the Arts
Cebu Aeronautical Technical School
Cebu Doctor’s University
Cebu Institute of Technology
Cebu Technological University
Central Bicol State University of Agriculture
Central Philippine University
Central Philippines State University-Main Campus
Centro Escolar University
CFAD/ UST 1
Chinese General Hospital Colleges
Christ the King College
CIIT Collage of Arts & Technology
CIT-University
City College of Calapan
Colegio de San Jose
Colegio de San Juan de Letran
Colegio de San Juan de Letran - Bataan
Colegio Nacional
College of Architecture and Fine Arts, Manila
College of Divine Wisdom
College of Fine Arts
College of St. Benilde
College of the Holy Spirit - Manila
College of the Holy Spirit, Mendiola
College of the Immaculate Conception
Collegio De Santo Cristo Burgos
Cosmopoint International Institute Of Technology
Cotabato City State Polytechnic College
Dalubhasaan ng Lunsod ng San Pablo
Dasein Academy of Art
De La Salle- College of Saint Benilde
De La Salle Lipa
DINGLE National High School
Divine Word College of San Jose
DLSU Bacolod
DLSU Dasmarinas
DLSU- Integrated School, Laguna
DLSU Manila
Don Honorio Ventura Technological State University
Dona Remedios Trinidad Romualdez Medical Foundation
Dr. P. Ocampo Colleges, Inc.
Dr.Filemon C. Aguilar Memorial College of Las Pinas
EARIST
Eastern Visayas University
Excel Review Center
Far Eastern University
FEATI University
Federation of Philippine Photographers Foundation
FEU Institute of Technology
Feudal eastern university manila
Filamer christian University
First Academy of Computer Arts
First Asia Institute of Technology and Humanitites
First City Providential College
Ford Academy of the arts, inc., Davao
Fort San pedro National High School
Foundation Maritime University-Arevalo
FPPI
Gabriel Taborin College of Davao Foundation inc.
Golden Gate Colleges
Golden Minds Colleges
Gov. Alfonso D. Tn College
Governor Julian Fullon Pacificador National School
Grace Christian College
Guintong Pandayan Summer Workshop (Cheaz’Curo Biswal)
Harris Memorial College
HB Workshop
Holy Angel University- Pampanga
Holy infant college
Holy Name University
Hugis Bayan Culture & Arts Workshop
ICCT Colleges
Iloilo Doctors’ College
Iloilo Natl Hs (School For The Arts_
Iloilo Science And Technology University ( Isat- U )
Immaculate Concepcion Major Seminary
Imus Computer College (Imus Main Campus)
Imus Institute Colleges
International Technological Institute Of Arts & Tourism
Int’l School Of Asia And The Pacific
Isat-U
Iscom (Isko Moreno Computer Learning Center)
Jaro National High Scool
Jblfmu- Arevalo
Jhsceriles State College
John B. Lacson Colleges Foundation - Bacolod
John B. Lacson Foundation Maritime University
Jose Maria College
Kabankalan Catholic College
Kalayaan College
Kimsoy Yap Summer Art Workshop
King’s College Of Isulan
Kulay Diwa Gallery
Kulay-Diwa Artist’s Development Program
Kurit Bikol Inc.
La Consolacion College-Bacolod
La Consolacion College-Manila
La Consolacion Novaliches
La Consolacion Tanauan
La Salle College Antipolo
Laguna State Polytechnic University
Lakandayang Cultural Association Inc.
Lakandayang Cultural Organization
Lakandayang Culture And Arts
Leyte Normal University
Lorma Colleges
Lpu, Cavite
Lpu-Batangas
Lumina Art
Lyceum Of The Philippines University - Manila
Lyceum Of The Philippines University Cavite
Lyceum-Batangas
Maabat College
Mabini Colleges
Malayan Colleges Laguna
Mandaue City School For Arts
Manuel L. Quezon University
Manuel S. Enverga University Foundation, Lucena
Mapua Institute Of Technology
Maria Clara Street, Tagbilaran City, Bohol
Mariano Marcos State University, Laoag City
Mariners’ Polytechnic Colleges Foundation
Maritime Academy Of Asia And The Pacific
Maritime University (Arevalo) Inc.
Mary Immaculate Academy
Masters Technological Institute Of Mindanao
Mater Redemptoris Collegium
Mel Cortez Photography Workshop
Meridian International College
Mfi-Ti
Mgc New Life Christian Academy
Mia
Microcadd Institute Inc.
Microcity Computer College
Mindanao State University-Iligan Institute Of Technology
Mindano State University
Miriam College, Q.c.
Monkayo College of Arts And Sciences
Museo Ng Angeles
Museo Ng Probinsya Ng Tarlac
Naga College Foundation
Nagtahan Sampaloc, Manila
83
Namei Polytechnic Institute, Mandaluyong
National Arts Culture And Heritage Academy (Aswara)
National College Of Business & Arts, Fairview
National College Of Science And Technology
National University
Negros Oriental State University
Negros State College Of Agriculture
Neu (Center For Livelihood & Skills Training)
New Era University
North Davao Colleges
Northern Iloilo Polytechnic State College (Nipsc) Estancia Main Campus
Northern Luzon Adventist College (Nlac)
Northern Mindanao Colleges Inc.
Northern Negros State College Of Science And Technology Ext.
Nueva Ejica University Of Science And Technology
Nvk-Tdg Maritime Academy
Nyk-Tdg Maritime Academy
Occidental Mindoro College
Our Lady Of Fatima University
Our Lady Of Salvation College
P.U.P Lakandayang Cultural Association
PAEA
Paete Science And Business College
Painting Tutorial
Palompon Institute Of Technology
Pamantasan Ng Lungsod Ng Manila
Pamantasan Ng Lungsod Ng Marikina
Pamantasan Ng Lungsod Ng Pasig
Pamantasan Ng Lungsod Ng Valenzuela
Pampanga Agricultural College
Pangasinan State University
Pangsinan State University-Lingayen Campus
Partidos State Univesity
Phil. High School For The Arts
Philippine Center for Creative Imaging (PCCI)
Philippine Central Islands College
Philippine Countryville College Inc.
philippine drawing society inc
Philippine Normal University South Luzon Campus
Philippine School for Maritime and Medical Access
Philippine Woman’s College of Davao
Philippine Women College of Toril
Philippine Womens College in Davao
Philippines Women’s University-Manila
Piglas Art Circle
Pintura Art
Plt College of Guinobatan Inc.
Polytechnic College og Davao del Sur
Polytechnic University of the Philippines
Polytechnic University of the Philippines - Calauan Campus
Polytechnic University of the Philippines - San Pedro Campus
Polytechnic University of the Philippines (Santa Maria, Bulacan Campus)
Polytechnic University of the Philippines QC
Polytechnic University of the Philippines-Cabiao
Polytechnic University of the Philippines-Cam. Sur
Polythecnich.com
Provincial History Arts, Culture and Tourism Office
PSBC
PUP Lakandayang Cultural Association
PUP/C.A.F.A
PWC
PWC-Davao
Quirino State College
Quirino State University
R.M.T.U
R.T.U
Ramon Magsaysay Evening Vocational School, Mla.
Ramon MagsaysayTechnological University
Review Innovations, Inc.
Rizal Techonological University
RRLS-ICT Academy
RTU, Pasig
Saint Louis University - Baguio
Saint Peter Velle Technical Training Center
Saint Scholastica’s College Manila
Samapaloc Nagtahan Manila
San Agustin Institute of Technology (SAIT) Valencia, City Bukidnon
San Pedro College Davao City
Santolan High school
Sibonga Community College
Siliman Univ., Dumagueta
Southern Institute of Business and Technology
Southern Leyte State Univ.
Southern Luzon State University, Lucban
Southland College
Southville International School & Colleges
Southwestern Institute of Business And Technology
Soutwestern Institute
SSC Bulan, Sorsogon
St Francis Xavier College Seminary
St. AlphonsusCatholic School
St. Dominic College of Asia
St. John Colleges
St. Joseph’s College of Quezon City
St. Louis Unv., Baguio
St. Paul College of Paranaque
St. Paul Univ., Manila
St. Paul University, Quezon City
St. Peter’s College
St. Peter’s College of Balingasag Misamis Oriental
St.Scholastica’s College Manila
Sta Rita Elementary School
Sta. Teresa College
Stella Maris College
STI College Angeles
STI College- Las Pinas
STI College-Puerto Princesa
STI-College-Ormoc
STI-Sta. Rosa
Sto.Rosario Sapang Palay College
Sultan Kudarat State University
System Technology Institute (STI)
Tanauan Institute
Tarlac Christian College
Technological Instituteof the Philippines
Technological University of the Philippines
Tesda-KorphilIT Training Center
The University of Mindanao
Tierra Felisa Brgy lantad Silay City Neg.Occ
TIP-QC
TSU
UC-Banilad
UE-CFA
UEP
UM Panabo College
Unibersidad de Manila
University of Baguio
University of Bohol
University of Caloocan
University of Cebu
University of Cordilleras
University of Makati
University of Northern Luzon
University of Northern Mindanao
University of Northern Philippines
University of Pangasinan
University of Perpetual Help System Dalta-Molino
University of Perpetual Help System Laguna
University of Rizal System Angono
University of Rizal System Antipolo
University of Rizal System Morong
University of Rizal System Morong
University of Rizal System Pililla Campus
University of Rizal System-Antipolo Campus
University of Rizal System-Rizal
University of Saint Anthony
University of Saint Louis
University of San Agustin, Iloilo
University of San Carlos, Cebu
University of San Carlos-Talamban Campus
University of San Jose-Recoletos
University of Santo Tomas
University of St. La Salle
University of St. Lasalle Bacolod
University of Sto. Tomas
University of the Assumption
University of the Cordilleras
University of the East
University of The East-Caloocan
University of the Philippines Baguio
University of the Philippines Diliman
university of the philippines in the visayas
University of the Philippines Los Banos
University of the Philippines Manila
University of the Philippines-Baguio
University of the Phils.
University of the Phils.-Davao
University of the Phils.-Mindanao
UST-Manila
Velez Manila
Visayas State University
West Visayas State University
Western Institute of Technology, Iloilo
western Mindanao State University
Western Visayas College of Science & Technology
Westmead International School
Xavier Technical Training Center
Young Artist Guild of Oriental Mindoro
VISION PETRON JUDGES
YEARS
2011 TO 2015
ArtPetron 1
PRELIMINARY BOARD
Roberto B. Feleo (Chairman)
Nemesio R. Miranda Jr.
Alfredo J. Aquilizan
Dr. Cristina L. Yuson
Jose A. Syjuco
Ziad S. Al-Labban
Walter A. Tan
Joey K. Campos Jr.
Alfredo G. Pelayo Jr.
FINAL BOARD
National Artist Napoleon V.
Abueva (Chairman)
Felice Sta. Maria
Prof. Leonilo Doloricon
Reuben R. Cañete
Dr. Brenda V. Fajardo
Alya B. Honasan
Corazon S. Alvina
Motassim A. Al-Ma’ashouq
Nicasion I. Alcantara
ArtPetron 2
PRELIMINARY BOARD
Rev. Fr. Isidro Abaño, OP
(Chairman)
Isidro G. Hildawa
Jimmy B. Vista
Elmer Borlongan
Imelda Cajipe Endaya
Raul G. Isidro
Jose K. Campos Jr.
Walter A. Tan
Antonio G. Pelayo
VP Ziyad Al-Shiha
FINAL BOARD
Abueva
Roberto B. Feleo
Emmanuel Garibay
Bobi Valenzuela
Gerardo Tan
Millet Manangquil
ArtPetron 3
PRELIMINARY BOARD
Raul G. Isidro (Chairman)
Emmanuel Garibay
Bobi Valenzuela
Dr. Alice Guillermo
Cid Reyes
Estela Ocampo Fernandez
Joey K. Campos Jr.
Walter A. Tan
Antonio G. Pelayo
Alfred A. Trio
Ziyad Al-Shiha
FINAL ROUND
Abueva (Chairman)
Roberto B. Feleo
Mauro Malang Santos
Lino Severino
Joanne Rae Ramirez
Carlos Franciso II
Khalid Al-Faddagh
ArtPetron 4
PAINTING CATEGORY
Abueva (Chairman)
Roberto B. Feleo
Mauro Malang Santos
Ramon E.S. Lerma
Romulo Galicano
Jose K. Campos Jr.
Antonio G. Pelayo
Nicasio I. Alcantara
PHOTOGRAPHY
Wig Tysmans (Chairman)
Romeo M. Gacad
Romeo Vitug
Denise Weldon
Baron Patrick de Koenigswarter
Walter A. Tan
Alfred A. Trio
Basil Abul-Hamayel
Khalid D. Al-Faddagh
ArtPetron 5
PAINTING
Abueva (Chairman)
Benedicto R. Cabrera
Roberto B. Feleo
Mauro Malang Santos
Phyllis Zaballero
Jose K. Campos Jr.
Antonio G. Pelayo
PHOTOGRAPHY
Romeo Vitug
Denise Weldon
Baron Patrick de Koenigswarter
Lorraine Belmonte
Basil Abul-Hamayel
Atty. Jose Laurel
Alfred A. Trio
Felimon E. Antiporda
Antonio G. Pelayo
Cecile Guidote-Alvarez
ArtPetron 6
PAINTING
Abueva (Chairman)
National Artist Benedicto R.
Cabrera
Roberto B. Feleo
Juvenal Sanso
Rosalinda Y. Orosa
Anton San Diego
Jose K. Campos Jr.
Antonio G. Pelayo
PHOTOGRAPHY
Romeo Vitug
Edwin Tuyay
George Tapan
Bambi Harper
Sonny Yabao
Isa Lorenzo
Atty. Jose Jesus Laurel
Alfred Trio
Felimon Antiporta
ArtPetron 9
PHOTOGRAPHY
Romeo Vitug
Denise Weldon
Edwin Tuyay
George Tapan
Sulaiman M. Ababtain
Atty. Jose Laurel
Alfred A. Trio
PAINTING
Abueva (Chairman)
Cabrera
Roberto B. Feleo
Dr. Joven Cuanang
Raul G. Isidro
ArtPetron 7
PHOTOGRAPHY
Romeo Vitug
George Tapan
Mark Floro
Denise Weldon
Mike Angeles
PAINTING
Abueva (Chairman)
Cabrera
Roberto B. Feleo
Dr. Jaime Laya
Ambeth Ocampo
Jose K. Campos Jr.
Antonio G. Pelayo
ArtPetron 10
PAINTING
Abueva (Chairman)
Cabrera
National Artist Virgilio Almario
Danilo Dalena
Raul Isidro
Alfred Esquillo Jr.
Charmaine V. Canillas
Felbin Peter A. Sotto
PHOTOGRAPHY
Romeo Vitug
Edwin Tuyay
George Tapan
Paulo Alcazaren
Sandy Prieto-Romualdez
Atty. Jose Laurel
PHOTOGRAPHY
Romeo Vitug
George Tapan
Denise Weldon
Mark Floro
ArtPetron 8
PAINTING
Abueva (Chairman)
Cabrera
Roberto B. Feleo
Dr. Joven Cuanang
Jose K. Campos Jr.
Vision Petron 11
PAINTING
Abueva (Chairman)
National Artist Abdulmari Asia
Imao
84
Jeremy Barns
Elmer Borlongan
Danilo Dalena
Alfred Esquillo Jr.
Romulo Galicano
Ana Neri
PHOTOGRAPHY
Romeo Vitug
Edwin Tuyay
George Tapan
Denise Weldon
Sonny Yabao
Scott Tuason
Ana Neri
Vision Petron 12
PAINTING
National Artist Benedicto Cabrera
(Chairman)
Abueva
Imao
Jeremy Barns
Juvenal Sanso
Danilo Dalena
Rodel Tapaya
Ana Neri
PHOTOGRAPHY
Romeo Vitug
Edwin Tuyay
George Tapan
Ernesto Enrique
Sonny Yabao
Ana Neri
PRINTMAKING
Raul Isidro (Chairman)
BG Hernandez
Virgilio Aviado
Imelda Cajipe-Endaya
Justin Nuyda
Sandra Palomar Quan
Ana Neri
Vision Petron 13
PAINTING
Imao (Chairman)
Abueva
Danilo Dalena
Elmer Borlongan
Alfred Esquillo Jr.
Ana Neri
PHOTOGRAPHY
Edwin Tuyay
George Tapan
Denise Weldon
Ernesto Enrique
Sonny Yabao
Ana Neri
T-SHIRT ART DESIGN
BG Hernandez
Justin Nuyda
Ramon Cruz
VIDEO-MAKING
Romeo Vitug (Chairman)
Laurice Guillen
Raymond Red
Howie Severino
Ana Neri
Vision Petron 14
PAINTING
National Artist Benedicto Cabrera
(Chairman)
Felice Sta. Maria
Jeremy Barns
Mark Justiniani
Elmer Borlongan
Alfred Esquillo Jr.
Orley Ypon
Ramon Cruz
PHOTOGRAPHY
George Tapan
Mark Nicdao
Wawi Navarrosa
Sara Black
Charles Buenconsejo
Ana Neri
T-SHIRT ART DESIGN
BG Hernandez
Justin Nuyda
Gerry Alanguilan
Ana Neri
VIDEO-MAKING
Laurice Guillen (Chairman)
Romeo Vitug
Raymond Red
Ricky Lee
Ana Neri
85
A S alute to
Vision Petron is proud to have partnered with our future
masters who journeyed with us to rediscover pride in being
Filipino. We salute the youth in their zealous quest for
self-expression and their commitment for excellence.

â€¢Vision-Petron

Transcription

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