In the Shadow of Great Light: An Exhibition of Works by Philippine National Artists, which ran until the end of August at Shangri-La Mall’s East Wing Atrium, revived the legacies of the country’s most esteemed visual artists.
Organized by Galerie Stephanie in collaboration with the artists’ families and Fundación Sansó, the show opened fittingly on National Heroes Day, underscoring the role of these figures in shaping the nation’s cultural identity.
The exhibition originated from a critical observation. When Galerie Stephanie’s director, Abby Frias Teotico, asked her team to enumerate the National Artists for Visual Arts, only a few names were recalled.
“If people in the gallery sector don’t know them, how much more for the ordinary Filipino?” curator Ricky Francisco said. His concern points to a broader issue: even mid-career and senior artists now rarely correct media outlets when they are mistakenly referred to as “National Artists.” Many younger audiences are unfamiliar with Fernando Amorsolo or Botong Francisco.
The exhibition serves as both a reminder and a reintroduction, showing that the title of National Artist retains significance within the contemporary art landscape.
Francisco notes that the award is not merely honorific. Alongside privileges like interment at the Libingan ng mga Bayani, National Artists stand as visionaries whose works embody the nation’s ideals and aspirations. Their canvases, sculptures, comics, and even stained-glass lamps are not only art objects but also carriers of values, stories, and dreams that continue to resonate across generations.
The exhibition also draws attention to notable absences. No women artists are represented, underscoring the impact of gender biases on the development of Philippine art history.
Francisco laments this absence, naming several women he believes deserve recognition: Agnes Arellano, Julie Lluch, Pacita Abad, Nena Saguil, Brenda Fajardo, and Impy Pilapil. Structural factors, he explains, historically sidelined women—family responsibilities, societal restrictions on mobility, and the perception of fine arts as a male-dominated field all contributed to the imbalance.
He expresses optimism that future generations will address this disparity as societal norms progress toward greater equity.
Among the works on view, Francisco highlights Amorsolo’s paintings for their mastery and imagery, Abdulmari Imao’s stained-glass lamp for its fusion of tradition and technique, and the accessible yet resonant popular works of Larry Alcala and Francisco Coching. These selections reflect not only technical brilliance but also the diverse ways art can engage and speak to the Filipino public.
As for the role of the curator, Francisco emphasizes its dual function: organizer and educator. In an era when “curation” has become part of marketing language—applied to playlists or restaurant menus—the professional curator remains someone who studies deeply, selects thoughtfully, and communicates effectively with their audience. For him, curating is an act of stewardship: to care for works, contextualize them, and make them meaningful to the communities they serve.
You may reach Chong Ardivilla at kartunistatonto@gmail.com or chonggo.bsky.social
