Jane Arrieta Ebarle’s ‘Hibla’ series off to New York

Hibla 44

IT IS SAID that when an artist paints, she seems to go through a trance, one that brings her to an abyss of colors, forms and shapes, where thoughts do not exist.

Time may stand still but the hands move. The eyes would follow them while the body gestures according to the form that is slowly creating itself on the canvas.

When Jane Arrieta Ebarle starts to paint, she does not live in this world anymore. She seems to transcend from a mind of chaos to the silence of some place where even she doesn’t  know herself.

“It is only the viewer with an open-ended understanding of art who can appreciate abstract art,” said Ebarle.

Unang Daloy pays tribute to the arts of Central Luzon

Abstraction techniques by Eghai Roxas

Philippine Art—as defined by art critics, historians, connoisseurs and collectors from Metro Manila—has had to rely largely on the talents, subjects and styles that have emerged in Central Luzon, said an award-winning arts scholar in Unang Daloy, the first Central Luzon Visual Arts Congress, held Oct. 3-4 at SM City and La Jardin Resort in Baliwag, Bulacan.

With this observation, Reuben Cañete, a recipient of the Leo Benesa Award for Art Criticism from the Art Association of the Philippines, mapped out the regional arts history of Luzon’s vast plain in his lecture, “Reflections on the State of the Visual Arts in Central Luzon.”