CEBU, Philippines - Anthony Fermin doesn't do faces. There are no noses to be found on his characters. Or ears. Neither does he do feet. Or hands. There are some concessions to fingers, which might as well be fingernails, the way the tiny splotches are slapped on to the limbs. There are swooshes that pass for eyes and smiling mouths. But the absence of all of these physical attributes do not detract from the ultimate, inescapable fact that what Fermin creates are fantastic works of art.
Canvases of glorious colors, filled to the brim with stroke upon energetic stroke, capturing without trying emotions of giddiness, effervescence and multiple peals of laughter. This is Anthony's gift, to transport us to a bucolic world, where fiestas and backyard gossip are equally celebrated events, where roosters cross the road and children play on the streets. It is stimulating to gaze upon Fermin's paintings, vehicles as they are of joy and happiness.
It is the 24th solo exhibit for this artist, and the first in more than a decade here in the Queen City. After a brief stint in Cebu, during which period he captured the hearts of fans, Anthony moved back to his native Bacolod, where he has been steadily building a career. His works can be seen in the gracious homes of Negrense royalty, as well as adorning the walls of popular cafes like Bob's and Italia.
But Anthony's fanbase isn't just contained in the sugar city. He is also represented in Manila by 1/of Gallery, where he has shown together with then up-and-coming, and now art scene staples, Roel Obemio and Farley del Rosario. In last year's Manila Art Expo, Anthony was chosen to be a featured artist by the artfair. Given his growing stature, it is high time then for Fermin to come back to a city that had given him much sustenance early in his career.
Triumphal would most probably characterize his relaunch. For this exhibit, Anthony chose to display bigger pieces that set his normal subjects on a much larger scale. True to form, there are the yellow and red backdrops that his fans have come to love. Traditionalists will rejoice in his renditions of lazy weekends in the farm and the market.
But Anthony hasn't remained stuck in this groove. He has also turned to dramatic blacks to contrast against his pallette, as well as daubs of tan, salmon and flesh for his other canvasses. The result: mouthwatering creations that stir those acquisitive urges in every serious collector's soul.
Take for example, his “Carabao Race,” a tightly drawn frame of stampeding carabaos rendered so powerfully that it would never have been thought of as a Fermin two, three years ago. This predominantly black piece broken only by slashes of whites and reds would have been misplaced in this collection, but for a couple of other works (e.g., Tartanilla) that also featured this beast of burden, albeit rendered in the more prosaic surroundings that are more typical of Fermin. Taken alone though, Carabao Race is certainly not a lightweight piece - this is a serious assault on the senses.
Fermin also hearks back to favorite subjects, like jeepneys. But any resemblance to his old interpretations have disappeared. Whereas before, Anthony's jeepneys were kaleidoscopes of color so representative of Sarao's models, now, the jeepneys he shows in “Dyipney” are less folksy art and more a potent dramatization. The strokes are heavier, the hues are darker, and the overall mood of the canvass is far from fiesta-like.
Even pieces which collectors would have easily identified as Fermin's bear slight, but noticeable signs of change. Take, for example, “Madam in Red”, which shows a gaggle of ladies intent on gossip. There are the usual token nods to lips and eyes and the flippant hairstyles that Anthony bestows on his ladies. But if one observes closely, the ladies' cotton shifts have been given dashes of embroidery, streaks of colors and patterns that are normally absent from Fermin's ouevres. On this lady is a patterned blouse, on another's dress, some bubbles have been blown. The surprises are pleasant, and quite welcome.
Anthony gives much of his soul to these pieces. It is a privilege to experience his inner joy, and witness his gradual transformation. (FREEMAN)