Anton Del Castil­lo

ALL THAT GLITTERS IS NOT GOLD  

Unmasking Anton Del Castillo’s art

December 23, 2019  / C-3 

By Terence Repelente 

 

Multi-awarded and criti­cally acclaimed visual artist Anton Del Castil­lo has been telling a per­sonal story of conflict and struggle. 

In 2018, he staged a solo show called “Void,” where he tackled the feeling of crushing emptiness. At the Art Fair Philippines earlier this year, he staged “Inferno,” where he highlighted themes such as greed and envy. His current exhibition at the Provenance Gallery, “Art of War,” is not just a continuation of the past two shows, but also a link that con­nects them. 

“It’s kind of a story, my story, my process,” he says. “From that feeling of emptiness in ‘Void’ to dissecting the greed and envy of the people that caused that emptiness in ‘Inferno.’ Now this exhibition shows the process of what really happened.” 

Taking its name from the ancient Chinese military treatise written by Sun Tzu, “Art of War” is a revela­tion of what Anton has been facing for the past couple of years. “I got in conflict with certain people,” he says. “When I read the Art of War, I realized I’ve been a victim of manipulation and deception, which were some of the tactics mentioned in the book.” 

All of the works in “Art of War,” like in all of Anton’s works, are pulled out of very personal experiences. This current show, however, hits closer to home. “It’s a sibling-family issue, which lasted for almost four years,” he reveals. “This exhibition shows the process, the ugliest parts of that fight.” 

As an artist, Anton says he can’t create anything that’s detached from the things he experiences first hand. “These are the visuals that come out of me,” he says. “If you’re an art­ist, you tell stories like a narrator. I won’t draw trees and landscapes right now because that’s not what I’m currently experiencing.” 

But greed, envy, and familial conflict aren’t isolated issues. His works, although rooted from personal events and people, can be a way to express universal themes

 “Creat­ing an artwork is always personal, and that’s more true in this current show.

 How can I talk about the art of war without being in a war? How can I talk about conflict without being in conflict? The works are sincere and real,” he says. “In the end comes the realization that these events and ex­periences happen to other people as well. The works become universal. Art is a powerful medium to put a specific message across. When my works are bought or consumed, I feel like I’ve also shared my personal experiences and stories.” 

Interestingly, the works in the ex­hibition, mostly oil on gold leaf panel, are shining and glamorous. Not only does the gold show or signify greed, Anton ironically incorporates it to demonstrate deception. “Kumikinang siya, pero iba ‘yung message (the works are shining, but the message radiates something negative),” he says. 

Beyond the glamorous color and his masterful estofada technique, Anton’s signature mask element is dominantly present in the exhibi­tion. “The people in my works always wear masks because they’re real,” he says. “I also have this belief that if you’re hiding something, if you’ve done something you’re ashamed of, you wear a mask. Sometimes I depict them wearing gas masks, which sig­nify toxicity.” 

Ultimately, Anton wants to show the reality that we’re living in an im­perfect world inhabited by imperfect people. “Anyone can be a victim of manipulation, lies, and deceit,” he says. “That’s the reality. The purpose of these works is to enlighten, to change perspectives.”