Art Exhibit: Fernando Modesto’s Love the Earth: Heal the Spirit Series June 1
Mezzanine at the Makati Shangri-la Hotel
Fernando Modesto’s art is almost otherworldly with angels, guardians of the earth watching, beings unaffected by the physical laws of gravity. It is this sliver of a perspective on Nature through Modesto’s work that the SEA Institute would likewise like to bring to the forefront of environmental conservation, and marine conservation, and more narrowly to the Verde Island Passage (VIP). Just as these beings not of the world tread lightly on all they see and touch, we too must learn to act with the same light touch with all of God’s bountiful treasures, just a hop, skip, and a jump from the bustling metropolis of Metro Manila.
The SEA has had a good gestation period of half a decade. We’ve come into our own and with the help of partners, concerned citizens, and just about anybody willing to help, we are set to buckle down, and focus on projects that will provide a paradigm for a repeat success along the many coastline areas and communities not only in the VIP but throughout our incredible country, with 7,500 Philippine Islands according to the latest count by the National Mapping and Resource Information Authority (NAMRIA).
Modesto in partnership with Didi Dee of Hiraya Gallery, has generously agreed to make the SEA Institute a beneficiary of this art exhibit. To view the full collection of the exhibit,
For inquiries regarding specifications and price, please contact Didi Dee of Hiraya Gallery 📱 +63920 978 3358 or ✉ firstname.lastname@example.org
FERNANDO MODESTO’s ANGELS: Healing Energies
“Happy is the heart that believes in angels.” – Author Unknown
Angels have always been present in the iconography of Christian, Byzantine, Persian, Muslim, and surprise, Chinese Buddhist art. But in Philippine art, the only angel one can recall is found in the label of native liquor, Ginebra Marca Demonio, an illustration done by the young Fernando Amorsolo, upon the commission of his patron Don Enrique Zobel de Ayala, who had sent him to study at the Academia de San Fernando in Madrid.
It was not until the Eighties, however, when a young and jocular artist, name of Fernando Modesto, had caused the proliferation of angels in numerous drawings and canvasses. Now in his senior years, Fernando Modesto’s creativity remains unabated, continually holding solo shows in various galleries in disparate parts of town.
Modesto is presenting his latest works with a show billed as “Love the Earth, Heal the Spirit.” The theme should not be glossed over for they make claim to our attention that this iconic image continues to proclaim its presence in Philippine contemporary art. Like Amorsolo’s dalagang bukid, Modesto’s angel de la guardia is a representation of something deeply Filipino, in this case, a puckish figure that has taken residence in the art community’s collective consciousness, extolling us to look at the brighter, lighter, happier side of life. Once again, as in an apparition, Modesto’s angels descend from on high and find themselves ensconced in Modesto’s pictorial space.
In this current show, one just has to meet “The Angel on Top of The World,” for that is exactly where Modesto should be, having reached a stage in life where nothing more need be proven. Like visions of Chagall, they fly in space, as in “Angel on Flight,” on a journey to the moon. In “Reflection of the Two Moons,” three angels soar with three moons lighting their way. Indeed, Modesto’s angels have assumed human actuations and behavior, in the manner of the Nicolas Cage in the movie “City of Angels.” In a work such as “Khartoum” a pair of angels is playfully tossing a ball, while a “Sweet Angel” is seen casually sprawled in bed, staring back at the startled viewer.
In terms of craftsmanship, these angels seem to have been delineated in an almost carefree manner, affecting the style of an artistic child prodigy, an “old soul.” They have become even more ethereal, in that the artist has chosen to depict them in such bare, spare strokes, spending more attention on the painterly field of pigmented, impressionistic dabs and smears, as if playing with the various chromatic chords of colors and hues. Modesto possesses a rich palette of colors favoring milky pastel shades, where the strong primary colors, red, blue and green, have been desaturated, washed out with lashings of whites.
—– CID Reyes, art critic