A naturalist with an ecological conscience, the artist Junyee lives in Los Banos in fulfillment of his desire to remain close to nature. A university town with an aesthetically appealing backdrop of forests, a tropical mountain ecosystem and natural springs, Los Banos nurtured Junyee’s fascination with natural forms. Besides, the place rekindled memories of Junyee’s formative years in his grandfather’s farm in Agusan. There he spent time around vast mangrove forests and learned to swim in the great Agusan River and Lake Mainit .
A multi-awarded sculptor and installation artist, Junyee belongs to the trailblazing years of postmodern artmaking in the Philippines, with a handful of brave Postmodernists like Santiago Bose, Robert Villanueva, Lani Maestro, Judy Sibayan, Genara Banzon, Shop 6,
Junyee uses endemic, organic materials and biodegradable found objects as reflections on the continuity of life in space, in the biosphere, in nature. Rocks, roots, twigs vines, dried pods, banana fiber, grass, seeds, husks, bamboo, and coconut shells find their place in his narratives and primordial installations.
In 1982, Junyee received an invitation to the Paris Biennale, he was joined by conceptual artist Ray Albano, Johnny Manahan and Nonon Padilla. This was a historic participation, after the country’s 10-year absence from international biennales. For this, he re-mounted his work Wood Things: dried banana leaves and stalks and spikes from kapok pods. Hundreds of these “ bugs ” covered a floor, creeping up to the ceiling. Recognition came at last. Invitations to biennales, awards, exhibitions and international collaborative projects followed.
Junyee’s ‘Seed Bed,’ (estimate PhP 330,000 – 380,000, signed and undated, (on the edge by the flat end), hardwood, 21 x140 x 15 cm (8 x 55 x 6 in)
In Seed Bed, a hardwood portion of a log Junyee draws upon nature’s cycle of evolving and decaying over time. He creates from a primal place. The piece challenges our perceptions of the importance and transience of art and celebrates the ever-changing nature of life. Seed Bed is transient and yet it is permanent. It is a powerful validation of an empty space.
His soot on metal sheet works to be exhibited in Taipeh later this month demonstrate the power of using soot powder from charred or burnt organic material against the white background of inorganic material like metal sheet. They are dark and light mystical compositions. but they are profound in that they make us better appreciate the complexity of the natural and manmade world around us. Despite their different qualities: soot and metal sheet, coalesce.
It is telling that his work is now receiving belated mainstream recognition, as these themes he has been addressing since the 1970s—have become particularly urgent today.
Evidenced by the growing attention his works are getting now, Junyee has secured his role in the development and awareness of Site Specific Installation Art and Organic Spatial Interventions in the country. No longer will he be underplayed.
