AS a sickly child, while her friends ran and skipped and jumped, Sal Ponce Enrile stayed mostly indoors. The threat of having an asthma attack often kept her in a room, without a sweat on her face but a pen in her hand, as she chose to while away time sketching, drawing and painting.
Taking shape was a future as an artist. But then, as Enrile put it, “life happened.”
The artistic girl grew up as an occupied adult. Enrile became a wife, a mother and a two-term congresswoman. In 2016, after her time as a public servant ended, she sought avenues to continue supporting the causes of children’s health and education.
Enrile eventually came full circle and found her way back to the arts. She picked up the brush once again. This time, her childhood hobby was fueled by experience and advocacy.
Considering encounters with people as her artistic inspiration, Enrile’s background in criminology, psychology and business allowed for informed observation of human behavior, while her political experience exposed her to the daily challenges poverty presents to people. Meanwhile, she decided to donate proceeds from all her exhibits to her chosen beneficiaries.
In terms of style, Enrile is mostly an abstract expressionist who uses an explosion of vibrant colors with streaks of black strokes. She calls the aesthetic “controlled chaos,” being an “intuitive artist” who paints from within.
“My process requires that I don’t overthink or get too technical. Otherwise, this limits my creativity, which, in turn, controls me,” she said. “I want the full freedom to express myself and to purge what lies beneath the unconscious. I control the amount of chaos, and where I feel the focus of the energy and activity in certain parts of my work should be.”
Post-politics, Enrile committed to become an artist. She began sending portfolios to local
galleries. However, the attempts were met with denials. Doubt grew.
“I was initially not taken seriously as an artist,” Enrile recalled. “Perhaps, because of my background, or worse, my art itself was not accepted.”
Steadfast in her pursuit, she took the rejections as a challenge and continued to hone her skills. Marlyn Feliciano Lopez, the curator of her first exhibit titled Awakening, suggested that she try her luck outside the country and submit a portfolio to Agora Gallery in New York, which, according to its web site, was “established to provide opportunities to artists entering the global art market.”
“I told myself I had nothing to lose and I did not really expect to be accepted,” Enrile said.
“After all, I was a newcomer and didn’t have a list of exhibits to boot.”
What followed was a series of e-mail exchanges. She just kept on responding without any assurances. Then came a message from the director of the gallery, welcoming her to Agora as one of their artists.
Through Agora, Enrile found a place in ArtExpo New York 2019, the world’s largest fine art trade show held in April. Featured in the show, as well as on Agora Gallery’s expo invite, was Enrile’s textured painting, titled Retrospect.
The exposure opened a world of opportunities: On top of being launched by a UK-based online gallery in Marbella, Spain, as one of their artists, she has exhibits lined up this year in Barcelona, Switzerland, Miami and New York.
“I now use my art as a platform to voice the complexities of my experience,” she said. “From the colors to the composition, my approach and curiosity to mix one style or technique with another has resulted in my unique identity, leaving my art with an intrigued and mysterious feel.”
In more ways than one, Enrile’s is an unconventional artistic journey much like her style. What seems to be chaotic and random actually holds a bigger, singular picture—a destination, a career as an artist.
The narrative is presented in Enrile’s ongoing second solo exhibit, simply titled Journey. The show opened in mid-June and is on view until July 4 at Art Cube Gallery, Karrivin Plaza, on Chino Roces Avenue, Makati City.
Displayed are 13 pieces that present to viewers the hopes, fears and struggles of Enrile’s path from public servant to artist. One piece is titled Endure, after her bouts with physical pain caused by a neurological disorder called Essential Tremor, or the uncontrollable shaking on her painting hand. Another is titled Stamina, which talks about her mustering of energy to complete large and complicated pieces.
The centerpiece of the exhibit, however, is a work of the same name, Journey. It is the lone semi figurative symbolist piece in the abstract expressionist-dominated show. Among the symbols featured in the work is a kneeling saint, which represents prayers for guidance and hope, as well as flowers to symbolize beauty and gratitude, and a giant fish to stand for peace and contentment.
“This could be anyone’s journey through life,” Enrile said.
The artist added that for her second solo show, she was more certain of the story she wanted to convey and how.
“I am slowly discovering myself as an artist and the kind of styles I truly enjoy,” Enrile said, adding that her journey continues. “Of course I will never stop experimenting and exploring new materials and techniques because that’s part of the learning process.”