Jane Ebarle

Jane Ebarle: Weaving the colors of indigenous cultures into the modern artistic landscape

Text by Hannah Jo Uy

“It provides me with a certain freedom to create without bias,” says Jane Ebarle, “Without following the rules of education, without limits in the choice of colors, shapes and forms. It is the opposite of structure. It neutralizes the mind. It pacifies the heart.” 

The ode of Jane Ebarle to abstraction overflows with feeling and emotion. Her long-standing love affair with this style of expression is understandable as it is the most fitting medium that will suit her wild spirit and unbridled curiosity. Although the privilege of utter abandonment drew her to abstractionism, her own distinctive style has evolved to accommodate her personal cultural advocacies lending her work with not only beauty but meaning and purpose as well. 

Ebarle has been known for her unique body of works collectively referred to as ‘Hibla,’ meaning ‘thread’ or ‘strand’ in allusion to its rich texture that echoes the beautiful aesthetics of a finely woven fabric. Her early works projected her stunning interpretations of Filipino ethnic designs which have always been a source of inspiration for the artist. In her first solo show which she entitled “Filipino Ethnicity,” she played around the tribal designs of Kalinga, Manobo, Tausug and Maranao.

Time, as well practice and experienced, has given Jane with the opportunity to produce more complex and sophisticated designs that are marked by her own evolution. Although her style can easily stand on its own merit for its technical nature and stunning aesthetics, Jane has always integrated her value for culture with her creative process. For Jane, art is not merely a product of contemplation; it is also a vehicle to bring about social enlightenment. 

“My art is akin to the weaves that the women weavers are doing,” says Jane “When I am able to work on my painting I remember the weavers who patiently take pains to be able to come up with something really magnificent. I am so awed at the creativity, resilience and the patience of these women. I hope that the future generations will still see this. I hope that this Filipino culture can never be forgotten in our history.” 

In recognition of her staunch efforts to promote ethnicity, the National Gallery worked closely with the Jane Ebarle for her latest exhibition which features 15 paintings that came as a result of the artist creative dialogue with noted ethno archeologist Dr. Jenny Cano. Entitled, “Threads on Canvas: Interweaving of Different Artistic Traditions,” the collection is on display at the National Museum of Anthropology.

According to Dr. Ana Labrador, Deputy Director of the National Museum, “Ebarle’s work is a tribute to every strand of those handloom fabrics. Her paintings are contemporary testimonials of Philippine traditional textiles transmitted through abstract art. She succeeded in connecting our past with the present.”

“Bringing the country’s art and culture to the forefront, this has been the battlecry of many countries, why not us?” asks Jane with a passion, “We have as equally beautiful culture with the rest of the Asian countries and this would be relevant to highlight. It is about time that we push our culture.”

Jane’s work with distinguished cultural institutions as well as her own artistic endeavors is made more impressive given that she is able to do so despite working full time with the Faber-Castel. In working for one of the leading global art supply brand she still manages to integrate her own passions by actively organizing programs under the Faber-Castell Academy to help teachers develop their artistic talents to facilitate and enhance children’s education. She has long hoped that the fulfillment that she derives from her work, despite whatever challenges it may bring, would serve as an inspiration for other women artists to pursue their passions and join the ranks of the expanding number of women artists making their mark in the local art scene. 

“It used to be that the Philippine art scene has been dominated by male artists for many years,” Jane shared, “less women join art group exhibits and even fewer women launched solo exhibits. These past few years however, saw the coming of many young women artists being active in the art scene and joining art groups. This is probably the rise of women empowerment in many areas such as in the workforce, in the government, in businesses. The fact that I have a dual role as a full time worker and artist should send a strong signal to women artists out there that what I can do, they can also do. And who knows, they can even do better.”

 

Jane’s eagerness to elevate the role of women artist has also fuelled her following series to be called ‘Babaeng Hibla,’ which will feature the juxtaposition of realism and abstraction as a changing the landscape  tackling the life stories of a woman whose emotions are imprinted in every layer of her garment. Looking to the future works yet to materialize she says, “It will be a wonderful confusion of hues and forms. The woman is very sensual yet tradition-bound. She is mystical yet aching to be discovered. It is about the power that emanates from her weakness.”

Threads on Canvas: Interweaving of Different Artistic Traditions,” is on display at the National Museum of Anthropology from August 26 to November 22, 2015.