Zyda Marie Baaya

Manfor B

Arturo Luz

Arturo Luz emerged as a national artist for visual arts because of his

rare, rather different stylizations found in his works. He abandoned

figuration completely; swirls and grids in neutral backgrounds affix most of

his artworks, with the frequent or universal use of colors such as red, black

and white. Although it is totally abstract, his paintings clearly depicted or

was linked to architectural devices. His works show minimal and non-

objective figures that project three dimensional planes and open spaces.

The national artist had a distinctively exceptional perspective in

creating his art, which was composed of mostly monumental works. That kind

of aesthetic perspective are not only seen in paintings but also perceived in

his sculpted works. Most of the works showed his response to the three

dimensional extension of aesthetics and simplification form which was

extremely linear.
 When Arturo Luz started painting in extremely linear shapes or form,

as shown in pictures I have noticed the elongation of anatomy human beings

(as the fist part of his study before diving further into purely

deconstructed architecture). Also he was set apart from all other artist

(during the time) because unlike others he was not very fond of loud,

festive, garish and/or extravagant Filipino colors (Filipinos are said to be

very fond of such) contrasting to the whispers of colors evident in his works.

During the program the speaker had compared Luz’ works to the

ancient Greek, which at the time sculptors were very much degraded even

with the finesse of their works. He discussed how these works (even with

such bad circumstances) became landmarks, which reflected Luz’ awareness

of space, that which he concluded that “space is design”. The artworks

(mainly speaking of sculpted works) were designed accordingly to the space

were it will be installed. He discussed how a space, venue or place can be

animated through installing a sculpted work. Very superficial example is the

McDonald statue on the bench on possibly every store or branch. Although

very shallow in meaning, it gives the place a certain aura and could be a
possible landmark for others. Also it is a creative way of making the place

more accommodating.

Also he discussed how a mounted work could orient the space or venue

especially for those who have decided to make as a landmark. Example the

paper clip statue in front of the Ayala museum, since place, although not

secluded, it hides at the back corner of the whole building, and the paperclip

statue could very well signify which corner they are at.

Arturo Luz did not only show us of the creative possibility of using

only linear forms and whispers of colors which are totally abstract in

crafting an artwork but also opened our perspective at the use of space upon

creating designs or works that could change or animate a person’s sight or

vision of a place, venue or space.