Mia Herbosa channels the past, reveals the present
MANILA, Philippines - Choosing a career in art is not an easy decision. For Mia Herbosa, this calling knocked on her door early in life and she has not looked back since then.
“I remember one particular lecture in college that stuck to me. The professor said that in this age of technology and highly-industrialized society everything is compartmentalized. In general, the workforce then is unable to feel what they are doing. Since you are your work, then most of the time you are unable to know the reason why you are working beyond the financial motivations. In this respect, artists are lucky, he said. That really got me thinking,” shares Herbosa. “This is what I like best about being an artist. I know why I am doing this. The direct communication with the people who admire your work and the links you create with them are additional perks,” she further intimates. This is what Herbosa imparts: associations, relationships and linkages to her journey.
In this regard, it is impossible not to feel refreshed when looking at her works. Talking to her invigorates you even more.
There is an immediate connection with the images she depicts. Not solely because they are familiar, not solely because they are distinct, not solely because they are ethereal. Her works are inviting for they are a combination of all these and more.
Having been trained at the Art Student League in New York, her masterful technique is readily apparent. Over 10 years of rigorous study taught her the fundamentals of painting, drawing and printmaking from a traditional approach. As such, Herbosa creates her works from life, sans technology. The details are exquisitely rendered, the colors are vibrantly projected, the compositions are well thought out and the proportions are exact.
Her classical leanings are most evident in her portraits. The portrait of Dominque Lhuiller is a case in point. One can almost pinch her chubby cheeks, see her wiggle her toes as she tries hard to stay still for the sitting. Through Herbosa’s painterly rendition, the little girl pops out of the canvas, enveloping us with her sweetness. In “Dalagita” we can see the soft brushstrokes that soulfully compliments the budding beauty. Indeed, this adolescent is brimming with expectation of what lies ahead. “Katya Zobel with Mocha” is both warm and comforting in its innocence. Even the puppy is portrayed with good-natured grace. In all these portraits, one cannot disregard the richness of the fabrics, the intricate patterns and its elegant flow.
Interestingly, although Herbosa’s western aesthetics are deeply ingrained in her process because of her background, the last four years here in the Philippines have given her a different perspective. For one thing, the tropical light now evokes a different fervor and glow in her oeuvres. She also incorporates local foliage in her still life compositions. These are mostly plants, herbs and fruits that she finds in her own garden or are available locally. For Herbosa, this integration is her way establishing herself to the Philippines. “The flora I use grounds me in this part of the world. The papaya, mustasa and rosal are grown in my garden. What I depict situates where I am,” she says. While these works acknowledge the manner of instruction she received, it is also her way of showing respect to her roots.
This fusion reveals the poignant nature morte renditions. Herbosa’s skills are perceptible with the almost tangible textures and reflective surfaces. Luscious vegetation, supple fruits, weathered antiques and symbolic objects all come to life. “These also serve as my homage to art and the art muse,” she volunteers. Each still life depicts a narrative within a narrative through the elements within the composition; all coming together to create another story.
According to Herbosa, her artworks are visual annotations of her life — as an artist, as a mother, as a daughter, as a wife, as her own person. These are the different facets of what makes up her core and being. All are records of the prosaic and the significant; the fleeting and the enduring; the obscure and the discernible.
“Onib Olmedo once told me that an artist who is honest about his experiences can‘t help but be a catalyst. This is what I strive to do as I try to adjust to where fate leads me,” she reveals. Yes, it is impossible not to feel refreshed. With everything going on in the world around us, seeing artworks that reflect and are grounded in the basics, in terms of methodology, attitude and imagery, it would be hard not to be energized by its quiet and profound disposition. Without a doubt, Herbosa’s works are all these and more.
According to Lao Tzu, “A good artist paints their vision, while a great artist lives their vision.” Most definitely Herbosa is trying to live hers.
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“Art Matters” is Mia Herbosa’s latest solo exhibition. It will open on November 23, 2011 at the Silverlens Gallery, 2320 Pasong Tamo Extension, Makati City, Philippines. The exhibition will run until Dec. 23.
