The artist Carlo Tanseco with some of his matchbox paintings
After his successful show last May for Art Fair Philippines, Carlo S. Tanseco opens his second one-man show “Alias Elias” on December 2 at J Studio in Makati City. Tanseco focuses solely on Filipino National Hero Jose Rizal, and the exhibit runs until December 30, 2021, Rizal Day.
As intimated by the exhibit title, “Alias Elias” is the artist’s exploration of the various faces—and facets—of Rizal as a hero, son, doctor, lover, religious figure, and cultural icon. The title itself references Elias, one of Rizal’s most famous characters in his novel Noli Me Tangere; he was Crisostomo Ibarra’s mysterious friend and alter ego.
With more galleries and institutions opening, Tanseco definitely welcomes in- person exhibits, though he respects the convenience of the virtual shows held earlier this year. “The online fairs and exhibits broke barriers that prevented accessibility,” he said in an earlier interview. “But there is a physical and social aspect to art that cannot be ignored.”
The new edition of National Artist Nick Joaquin’s 1996 Rizal Biography ‘Rizal in Saga: A Life for Student Fans,’ reissued by Milflores Publishing, with Tanseco’s artwork ‘Solo Humano’ used as cover art
These days, Tanseco lives part of the time in Siargao, painting in the light-filled loft of his studio. Although “Alias Elias” was conceptualized and researched when the artist was in Manila, much of the production of this particular exhibit was done while on the island.
“I am so much more productive here because I have a lot of time. In the morning, after my CrossFit class, I rush right back home and start painting. I paint from morning until night and I smile while painting,” he says. “Living here actually fires up the concepts, and the Universe seems to be less obstructed here on the island.”
Composed of several works of acrylic on canvas, the exhibit is divided into three sub-series: the Stamps, the Matchboxes, and a Fencing Pair that ties in to the Eye Chart series in Tanseco’s previous exhibit. “I was very much drawn to the Rizal Eye Chart series from my last exhibit in May and I had already planned my next exhibit on the concept of Rizal,” Tanseco shares. “And then this show was scheduled in December and we thought, why not relate it all to Rizal Day?”
At the same exhibit, the new edition of National Artist Nick Joaquin’s biography Rizal in Saga: A Life For Student Fans, which features Tanseco’s painting of Rizal entitled Solo Humano from the Eyechart Series as its cover art, will be sold in limited numbers. Initially commissioned by the National Centennial Commission back in 1996, Rizal’s death centenary, Joaquin’s book has now been reissued by Milflores Publishing with an introduction and annotation by historian Ambeth R. Ocampo, along with additional photos from the historian’s own collection. Tanseco’s fine art prints of Solo Humano will also be released at “Alias Elias.”
The first sub-series within the Rizal show are the stamp paintings, each showing a vibrantly hued portrait of the hero juxtaposed with hyper-realistic renditions of Rizal’s popular themes, recalling the life stories, quotes, and historical situations we know best: the legendary moth from his childhood, a package of tuyo (“Mas mabaho pa sa malansang isda”), ophthalmic equipment, Leonor Rivera’s locket, Rizal’s pen.
Rizal ‘stampita’ – ‘Bulag,’ acrylic on canvas
Upon closer inspection, each object reveals a different aspect of Rizal, and by viewing the paintings as a whole, the artist urges us to reexamine all the facts and myths that surround Rizal, and relate these to our own life experiences. This style of realism also indulges Tanseco’s need for order and precision in his earlier works.
‘It’s like a message from the past—although stamps like these were way past Rizal’s time, posthumously, he was commemorated a lot on stamps’
But why the predominantly philatelic reference? “It’s like a message from the past—although stamps like these were way past Rizal’s time, posthumously, he was commemorated a lot on stamps,” says Tanseco. “Stamps allude to the past, to a time that we may remember or forget.
“I have an affinity for stamps. It’s art, but it’s functional. I’m not a serious philatelist, but I am attracted to the graphic quality of it,” Tanseco admits.
The other set of stamps features a more intriguing, mystical side of Rizal. “Mga stampita,” Tanseco playfully calls them, referring to the smaller canvas sizes and its religious subject. All six paintings allude to the Rizalistas, a folk-spiritual, Philippine religious group whose followers believe that Jose Rizal is a divine being, or that he is God Himself.
These six paintings are of the Rizal stamp paired with an anting-anting, a magical amulet or talisman. It is interesting to note that there were actual anting-anting amulets that were embossed with Rizal’s image as “Jesus.” In Tanseco’s paintings, the stamp’s postmark encircles the hero’s head like a saint’s halo, and each halo bears a message: “Kanino ka sumasampalataya? Idolohiya bilang idolotriya. Tres Persona Solo Diyos” (which is one of the prayers of the Rizalistas, and also the name of a registered group of Rizalistas).
Tanseco muses on this side of Rizal. “I believe that ours is a different kind of faith because it’s a mix of Catholicism, animism, and folklore, like a cacophony of various religions that were localized, coexisting side-by-side.” He adds: “Rizal is the patron saint or God of the Rizalistas—or is this just hero worship? We put faith in God, but can we put our faith in people—or in our heroes?”
Rizal ‘stampita’ – ‘Tuyo,’ acrylic on canvas
The third series of paintings uses the same medium of acrylic, only this time painted onto canvas that are wittily shaped like matchboxes. Tanseco’s realistically rendered safety matches peek out of the bottom, tricking the viewer into thinking that you could just pick one up and light it. That, subconsciously, is the intention.
“Our language, Tagalog, is one of the most romantic languages in the world,” Tanseco says. “There are countless ways to say ‘flame’ or ‘fire’ in Tagalog.” He writes all these down on the matchbox covers: Maging mitsa ng pagbabago. Magsilbing liwanag sa dilim. Sindihan ang pumanaw ng liyab. Kamtan ang nagbabagang pangarap.
Rizal matchbox – ‘Alab,’ acrylic on canvas
“The matches symbolize igniting a desire for change,” he explains. Is it political? “Yes and no, because for yourself, you can also be part of change or spark change; but mostly, these symbolize patriotism, love of country. Just think, if Rizal were alive now, what would he say about everything that is happening to us? ‘Is this what I died for?’”
‘Come to think of it, Rizal was the number one endorser, but he didn’t get any royalties—and he could really sell the product!’
Tanseco says that the exhibit also touches on the fact that Rizal, even almost 125 years after his death, remains relevant to us. “Going back to the matchboxes, his face was used on PHIMCO matchboxes decades ago,” he says. “Come to think of it, Rizal was the number one endorser, but he didn’t get any royalties—and he could really sell the product!”
The artist adds that this exhibit, with its layers of meanings, could be interactive. “It depends on the viewer, how you would interpret each one.” Even the title, “Alias Elias,” suggests this. Many readers identify Noli me Tangere’s character Crisostomo Ibarra as Rizal, the ilustrado, but for others, Rizal may be Elias: the Filipino Everyman who sacrificed his life for others.
In its entirety, the exhibit makes you ask yourself: “Who is Rizal to me? What is it in Rizal that we could see in ourselves? If I were Rizal, what could I do?” Only you could answer that.
ALIAS ELIAS by Carlo S. Tanseco will run from December 2 to 30, 2021 at J Studio, La Fuerza, Gate 1 Compound, Makati City. You may visit them by appointment: Tuesday to Saturday, 12nn – 7pm. Follow them on Instagram @artjstudio. Follow Carlo S. Tanseco on Instagram @carlotanseco_art
