Bobby Nuestro

Bobby Nuestro: Abstraction meets Social Action

Text by Pam Brooke A. Casin

ORIENTAL MINDORO-BASED artist Bob Bernardo ‘Bobby’ Nuestro’s aesthetic sense and creative philosophy thrive in the synthesis of art and of life. This may sound like a worn out cliché but this is indubitably evident in how the conceptual artist-teacher goes about his popularly known abstract series. On top of that, Nuestro likes to go against the grain or, at the very least, he thinks differently. He believes his art is an ideal reinforcement of his social consciousness centered on inherent Filipino values that are relevant for social change. 

Nuestro’s interest in the arts started just like any other kid. Drawing excited him more than studying perhaps or listening to his teacher’s lectures. His mother showed no eagerness upon learning his son would like to take up fine arts in Manila.  Her rhetoric is no different from the rhetoric of any parent who is concerned her child would not get a decent paying job, for studying painting meant financial suicide after. But Nuestro’s resolve and stubbornness won over. 

“Being an artist is inherent. Mararamdaman mo ‘yun kahit bata ka pa,” he explains. “Kapag nagagalit ang nanay mo kasi ang dami mong papel, kapag pinapatawag ka nag maestra mo kasi hindi ka nakikinig sa kanya, at kapag walang abakada sa notebook mo, alam mo nang magiging artist ka.”

The artist’s reductivist artworks and his inspired process of art making came about when he went under the instruction of conceptual artist Mars Galang and eminent printmaker Virgilio Aviado at the Philippine Women’s University. He was also influenced by the minimalist opuses of Fernando Zobel and National Artist Arturo Luz. He was immediately captured by the two artists ‘space for space’ concept. 

However, Nuestro’s art philosophy seemingly started when he decided to embark in a very unorthodox role in 1992. He went to become a politician, a councilor, in his hometown after his one-man show and after he has already sold some of his works. That would seem incredulous at first for any other artistic individual who, by appearance and reputation, is always frowning upon the inept political system. Wherever one may be, there is always an opinionated artist somewhere who opposes being identified with politics. But Nuestro was unlike no other.

Predisposed to enter the world of politics, Nuestro was deeply persuaded by his extensive and concentrated undergraduate thesis on “The Artist as Catalyst for Social Change.” Its premise is that the artist will ‘transform’ himself into a politician and take responsibility of the society. Patterning his study from 20th century installation artist and art theorist Joseph Beuys’ scheme of ‘social sculpture,’ ‘extended definition of art,’ and ‘artist’s role in his community,’ Nuestro realized that an artist is not exempted and should not be in protecting the welfare of his environment and especially in fostering one’s sense of community.

With this new epiphany, Nuestro configured his works on paper not entirely after the social realism school of thought depicting the harsh realities of life rather according to the sensibilities of a typical Juan who is altruistic despite trying times, thinking not just of himself but others as well. In that way, Nuestro’s works reflected positivity as seen in his brightly hued palette and organic brushstrokes. And he hasn’t also forgotten about aesthetics because his artworks have been recognized and accepted widely by the local art scene. One can even freely view his works, inconspicuously hanged on the walls of Power Plant Mall, Rockwell and on the walls of HSBC in Makati.  

Nuestro comments on his body of work: “I believe that all creative works are kaloob (God-given) and I use them for self-realization and enlightenment.” The artist has also set up a value system, which he follows in creating his pieces. He believes in pukaw (to evolve for a greater change) and kalinga (to care for others)—and all of his handiwork has been suffused with these. 

It is with this thinking that Nuestro is now ready to launch into another art and political project of sorts. Billed as ‘Mehora,’ this endeavor is a political action art project which puts into action the artist’s principle of becoming part of social change. ‘Mehora’ comes from the Spanish word mejora, which means ‘the act of relieving ills and changing for the better.’ Almost three years in the making, the ‘Mehora’ project aims to fuse all of Nuestro’s works—his paintings, drawings, sculptures, photography, and performance art.

Also, with this at the helm, Nuestro plans of entering the world of local politics once again as he decides to vie for a congressional seat in the upcoming elections. In the supposed 45-day campaign, Nuestro intends to have himself shot everyday and have his actions documented. He has also assigned several artists like himself to document the campaign period. Together with these artists, Nuestro is dedicated to fashion art pieces and reintroduce his art statements for his whole community to witness. But Nuestro is quick to say that he would be campaigning as an artist and not as a politician whose reputation is just to please and to jest.

And Nuestro is just as thorough with this project as he has always been with his oeuvres. In fact, he has already constructed feasible plans for his hometown. He has made mock-ups of how his campaign would be. It turns out his journey is centered on social development through establishment of an art institute in Mindoro and research on renewable energy to name a few. Does this sound ridiculous and implausible? 

Well, Nuestro has put it this way. “For an artist to achieve his utmost role, he or she should have conviction, an advocacy that he or she will follow through and be stubborn about no matter the odds are. And he or she should think of a contribution appropriated for the intensification of local art scene. It seems to others that we, artists, are like eggs that shouldn’t be dancing with stones, but I think we have something more to share with the rest of the world. If we fail, then at least, we still have something to strive for.”

Bobby Nuestro’s latest exhibit “Eggs Have No Business Dancing with Stones” will open on May 23, 6 p.m. at the Arias Artspace in 2/L LRI Design Plaza, 210 Nicanor Garcia St., Makati City. For more details, contact 473-9619.