Juanito Torres

“Eksena”

Galerie Joaquin’s Jack Teotico is all praises for Juanito Torres’ take on Philippine history

Text by Pam Brooke A. Casin

IT WAS A SCORCHING DAY when we visited Galerie Joaquin in San Juan. Our goal was to meet up with painter and University of the Philippines alumnus Juanito Torres and check out his first one-man exhibit. My watch read 3 p.m.; we were just on time. 

Upon arriving at the gallery, we were greeted with massive canvases portraying various historical events that transpired during the Spanish occupation and the Philippine-American war in the country. The scenes presented by the painter were teeming with emotion and drama. More so, the painter’s subjects were rendered in a staggeringly graphic fashion, almost resembling the brushstrokes of artisans who would paint film ads back in the day. His strokes are bold—bordering on the deliberate yet carefree. His figures, spot-on and anatomically correct. Immediately, we wanted to chat up the painter and ask him about his training besides wanting to meet him and know what makes him tick, of course.

Unfortunately though and as circumstances would have it, we weren’t able to meet Juanito that day. For some reason, Juanito couldn’t make it to the gallery. Enter now Galerie Joaquin owner Jack Teotico, who so eagerly helped us out in understanding Juanito’s grand body of work. Titled “Eksena” (Scenes), the exhibit is probably the first of its kind in the local art scene. It’s the first time a contemporary artist has chosen to depict historical scenes, milestones in our country’s rich historical reservoir in this decidedly cohesive and impressive scale both subject- and technique-wise. 

Jack was all praises towards Juanito’s efforts in producing 20 works for the exhibit. He’s proud of the painter’s works and couldn’t help but gush over Juanito’s fondness for history and his technical aptitude in recreating scenes which are not only accurate but with a few twists and details the painter has thought of himself. For example, there is a dog, a mongrel perhaps lazily sitting or in the midst of an action in each and every one of Juanito’s paintings. Jack says that this artistic choice of the painter must have stemmed from Juanito wanting to put in a bystander, a viewer who may then become witness to a particular scene he has painted. 

Right off the bat, Juanito’s works remind one of the classical techniques of the masters. As a result then, Juanito’s pieces boast of an exciting interplay of light and shadow and tonal values. Another thing that is eye-catching in Juanito’s works, Jack says, is the way they are able to create an illusion for viewers. Up close, the works may appear really blurry and the strokes haphazardly done. Seen from afar, the paintings suddenly appear to have been edited and given an altogether dazzling energy. The lines and strokes seem to have come together harmoniously and have created a theatrical ambiance. 

Works displayed in the exhibit include the painter’s take on the Battle of Tirad Pass, the Cry of Pugad Lawin, the Battle in Limahong, the Assassination of General Antonio Luna, and the Blood Compact, to mention a few. Of course, central in Juanito’s oeuvre are historical figures surrounded by a cast of Filipino, Spanish, American, and Chinese characters. There’s liberal Spanish Governer-General Miguel Blanco in the midst of a dinner party thrown by the wives of the katipuneros. There’s Tandang Sora healing a wounded katipunero; Emilio Aguinaldo being captured in Paanan with the aid of Macabebe trackers; Jose Rizal as Crisostomo Ibarra; and Diego and Gabriela Silang. 

There’s one painting though in the exhibit that doesn’t illustrate a historical milestone but rather a metaphorical sight—school children dressed as katipuneros in their classroom. Billed “When I Grow Up”, the painting perhaps says that it is needed for the youth to make sacrifices when the time comes, to not literally shedding blood for the country but to demonstrate fealty to their Motherland in the best way they know how. 

In a sea of post-modern pieces, Juanito’s works remain a faithful embodiment of the classical and academic discipline of the past, all the more underscoring Juanito’s passion for history and tradition. It is in this doing that Juanito champions the significance of our nation’s past, our country’s history and culture... And for that alone, he has become one of those little children dressed up as a katipunero in one of his paintings—one that has made the ultimate sacrifice to paint what it is like to be a true Filipino.

“Eksena” runs until September 27 at the Galerie Joaquin, 371 P. Guevarra St. cor. Montessori Lane, Addition Hills, San Juan. For more information, call 723-9253 or e-mail info@galeriejoaquin.com.