Anton Quisumbing: His primary concern in working with bronze was its malleability, reflecting his attempt to emerge from heavy upheaval that is both unforgiving and physically taxing. (Photo by Zach Aldave, courtesy of artist)
Following two years of meticulous labor and reflection, BAMBOOVILLAGE presents PASULONG: Recent Sculptures by Anton V. Quisumbing, which runs May 15-30, 2026, Main Gallery, Y Space at Yuchengco Museum, RCBC Plaza, Makati.
Curated by Miguel Rosales with exhibition design by Caramel Creative Consultancy, Pasulong marks a significant evolution in Quisumbing’s art as he navigates the delicate intersection of destruction and rebirth.
‘Archangel,’ 2025, bronze, 102 x 46 x 32 cm (Photo by Zach Aldave, courtesy of the artist)
‘Propulsion II,’ 2024, bronze, 83 x 44 x 35.5 cm (Photo by Zach Aldave, courtesy of the artist)
‘Sight,’ 2024, bronze, 63 x 40 x 22.8 cm (Photo by Zach Aldave and courtesy of the artist)
In this latest collection, Quisumbing returns to sculpture as a means of processing loss, longing, and repair. For two years, the artist arduously pieced together the remains of bronze propellers from boats damaged in the aftermath of Typhoon Odette in 2021. The results are 29 compositions that depict what it means to move forward—a journey that is never linear, a parallel to the artist’s return to three-dimension objects after his solitary period devoted to painting.
Time has reaffirmed that the artist’s strength lies in his adaptability to material and circumstance. Creating with hands has kept him grounded and emotionally sound throughout the process. His primary concern in working with bronze was its malleability, a reflection of his attempt to emerge from a heavy upheaval that is both unforgiving and physically taxing.
The exhibition presents arcs and material curvatures that give rise to varied forms while initiating motion. Some shapes assume the semblance of spiritual symbols, standing steadfast in place like moral compasses, while others present themselves as hurried strokes heading somewhere yet to be determined.
Pasulong examines the trials and successes of the undertaking—to see what man can make in the aftermath of destruction—and serves as prelude to Quisumbing’s new direction in art.
On display is Sight, a piece that depicts a misshapen figure standing tall on its twisting metal base. Its almond-shaped eye runs horizontally across its center, while its armor on the left appears to shield it from external aggressors. This is only one of many in the collection that demonstrates the feeling of lightness despite the weight we carry. This expresses the artist’s total control over what he sees and melds, that he is not at the mercy of the situation.
The sculptures in Pasulong are a glimpse into what Quisumbing has endured: the imperfections, the attempt to make sense of the wreckage and to build something new.
The exhibition marks his departure from painterly ways and into concrete forms of mending. Quisumbing takes this moment to acknowledge what he had to overcome and to forge ahead into the future.
ABOUT THE ARTIST
While in his early career he became known for bas-relief replicas of Philippine churches, Anton Quisumbing’s (b. 1970 in Cebu, Philippines) latest works highlight experimentation beyond the formation of images. Navigating between sculpture and painting, he merges formalist approaches with playful, spontaneous candor as he excavates from memory and experience.
Primarily a sculptor, he anchors his art on testing the malleability and strength of a material, reintroducing the swift manner a line can vigorously depict an image.
Quisumbing surveys space by means of scale rather than through colour and structure. Every angle represents a different facet tied to an idea while subconsciously directing the artist’s decisions in his process and studio production– where one jolts with energy, the other stands in confidence, and so forth. In this way, every physical presence makes room for contemplation and treads on the multitude of ways one can be perceived and understood.
Quisumbing studied Fine Arts (Sculpture) at the University of the Philippines, Diliman, and has decades of experience in the fabrication and furniture industry. His works have been featured in exhibitions at the Ayala Museum, Alliance française de Manille, and other art stages, such as the Visayas Art Fair (Cebu) and MoCAF (Manila). His works were presented abroad in Malaysia,Spain, and the United States. He lives and works between Cebu, Manila, and the Netherlands.
