UNTIL he realized that he had won, the grand prize winner of this year’s oil/acrylic category had a sob story to tell: He took his oil brushes and bundled them in plastic wrapper like a flower bouquet trapped in time. He dug a hole in the ground as a resting place for his art materials, vowing that he would never return to painting again except if something great would happen. And it did.
Today, his painting hangs at the Ayala Museum. He has won a bundle of cash, a plaque of recognition, a stream of admirers and lots of good wishes—that he would continue producing art and not bury his dreams in the sand, to say the least. His winning painting says it all. It’s the portrait of the tools of the trade laid down to rest, in the most dire moment before a shovel can seal the tomb.
One can imagine similar stories of desperation and, perhaps, some are even more heartbreaking. The life of the struggling artist is beset on all sides. Indeed, contemporary Philippine art will be very different today if it were not for a few generous institutions that have made the road a little less arduous for young creators of art. Since its founding in the late 1960s, the Shell National Students Art Competition (SNSAC) has become the longest-running and most anticipated contest for young Filipino artists. On its 47th edition, and in the year of Shell’s 100th anniversary in the Philippines, it seeks to remain relevant by pursuing its stated ambition while doing a few surprising changes to its programming.
This year, aside from the usual categories, the SNSAC added a new one for digital short film. It also made use of a theme for the very first time—“Art Spark.”
Such changes have ignited a round of approval. First, the recognition that the growing interest and excellence of the youth in digital cinema has rebounded on the faces of the SNSAC’s organizers with digital cinematic artworks, adding not a small chunk to the record total number of 1,600-plus entries received across all categories this year.
The theme “Art Spark”—aptly named because it symbolized the ongoing revolutions in modern art forms—catalyzed the quantitative by giving the entries a qualitative sign, namely “Art Spark,” where creativity was whirled upon.
The outcome was a more formidable show of talent and gusto in the output of student artists. There is a noted intensity this year, especially in the arena of sculpture, which seemed to lag behind oil/acrylic and watercolor in past years.
Leading the way in sculpture was grand prize winner Jan Andrew Denila of Philippine Women’s College-Davao City, followed by Carlo de Laza of University of the Philippines-Diliman and Mark Anthony Laza from Eulogio “Amang” Rodriguez Institute of Science and Technology (Earist).
A grand slam was achieved by the Technological University of the Philippines (TUP)-Manila when it amassed all three major awards in the watercolor category. Taking the top spot is Arnesto Ibanga, followed by Jan Erikah Danao and Ma. Angelica Arenas.
In digital fine arts, Wesley Jelo Almazar from Earist won first prize, followed by Christian Art Malquisto and Ermaine Kriztine Manucay, both from TUP. Meanwhile the pioneering batch of awardees in digital short film were Sharmaine Requine of TUP-Manila, Paulo Eric Garinganao of La Consolacion College-Bacolod and David Ryan Viray of Far Eastern University.
Last, the top winner in the oil/acrylic category—and the creator of the heartbreaking image of art brushes on the verge of entombment—is Francis Eugene Andrade of Bulacan State University.
The second place in oil/acrylic went to Clint Rey Policarpio of University of the East–Caloocan, while third plum was given to Francesca Jane Saquibal of De La Salle University–College of Saint Benilde.
Judges for the 47th SNSAC were Ral Arrogante, Junyee and Leeroy New for sculpture; Antipas Delotavo, Edgar Doctor and Egai Fernandez for watercolor; Dopy Doplon, John Flores and Rosscapili for digital fine arts; Pablo Biglang-awa, Avid Liongoren and Raymond Red for digital short film, with provincial screeners in Renato Guerrero Habulan and Jamel Obnamia; and Danny Dalena, Nestor Vinluan and Ronald Ventura for oil/acrylic. The judges awarded the winners on September 10 at the Ayala Museum, Makati City, where the winning entries were on view at the museum’s ground floor gallery until September 21.
As Shell continues to create a more sustainable energy future in its 100th year in the Philippines, it also continues to energize programs that promote social growth.
Aside from Shell’s investments in education, environmental management and promotion of road safety, among many others, the nationwide arts program for the youth, in the form of the SNSAC, is one of the company’s methods in developing the potentials of the Filipino. n