Ang kiukok “Table” 1972 on Canvas Size: 30″ x 30″
₱50,000.00
Ang Kiukok was mentored by Vicente Manansala, a member of the Filipino modernist group known as the Neo-Realists. Manansala cited Pablo Picasso as one of his major Cubist influences. Art critic Leonidas Benesa describes Picasso’s 1937 painting Guernica as a “15th Station of the Cross in a modern context, and particularly in the context of Ang’s Christian convert version”. In 1965, during a trip from Los Angeles, Ang headed to New York by himself and came face to face with the monumental painting at the Museum of Modern Art. This significant encounter, preconditioned by his exposure to the undercurrents of Cubism within his midst, had served as a turning point in his artistic consciousness.
In Table (1972), the monochromatic tones and geometric shapes take up most of the picture plane. The composition feels tense and limited by the square frame, yet the viewer is invited further into the painting to examine its form.
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The naked torsos of a man and woman are painted in abstract, geometric forms blending into the space of Cesar Legaspi’s Man and Woman (1975). As Legaspi moved closer to abstraction, the objective reality of his subject remained as a persistent undercurrent in his abstract images. The figures are launched into rhythm and movement moving away from the stasis.
In Jose Joya’s gestural works from the1960s, paint was applied intuitively and spontaneously. The rough surface textures were achieved by using broad brush strokes using brushes or spatulas or directly applied from the tube onto the canvas. The impasto finish mixed with sand over layers of primer, creates a sensual experience. Joya masters a delicate balance between control and spontaneity, translating into a visual language that holds unique to his body of work.
The thematic expressions present in Ang Kiukok’s works often revolve around representations of still life, dog fights, crucifixions, his junkscape series, human figures in anguish, and seated figures. While the other themes highlight brute instinct and intense expressions, Kiukok’s still life paintings show a lighter side to his body of work. The vibrant colors in complementing schemes and contorted shapes of Lamesa (1979) draw us into an interior perspective that recedes into the pictorial plane.
Ang Kiukok’s proclivity to portray his usual subjects in various compositions and themes is present in the still life, Red Table (1970). The lines in his paintings emphasize geometric forms that overlap with each other that fill up the canvas space and limit the perspective. The colors are rudimentary, and in this painting, it is limited to red, orange, white, and black. The effect reinforces the linear framework. This transforms the table into a distorted and fragmented image, reflecting Kiukok’s worldview full of angst and inner turmoil.
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