Art comeback
Puyat became a cultural advocate who lent his support to the Saturday Group of artists, as well as the writers, lensmen, musicians, and architects of his generation
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Puyat became a cultural advocate who lent his support to the Saturday Group of artists, as well as the writers, lensmen, musicians, and architects of his generation
THE ‘Resurgence’ exhibit by Salcedo Private View.
Andrew Leonor and Elana Leonor.
Xandra Puyat and Bea Puyat.
Hannah Arambulo and Biden Arambulo.
Jing and Beng Puyat.
Hermie Tecson
Joel Geolamen
Judge Adolf Azcuna, Winnie Monsod, Bea Azcuna, Marcia Azcuna and Jun Alvendia.
Kayla Puyat
Keren Pascual, Leah Puyat, Maylee Puyat Arnaldo and Mia Puyat Leonor.
Pat Duavit, Anton Santiago, Maxi Santiago, Enzo Santiago and Kim Passion.
Raul Francisco
Perla Bautista
Putch Puyat and Beng Puyat.
Mio Dizon
Baby de Guzman
Last 19 October, two men marked their return to art-making with an exhibition fittingly titled Resurgence, presented by Salcedo Auctions’ gallery arm, Salcedo Private View. On show up to 25 October were previously unseen works by business leader Victor Puyat and award-winning artist Guillermo de Luna, who was once dean of the Fine Arts Department of St. Scholastica’s College, Manila. It was well-attended opening, especially since few knew of Puyat’s artistic practice (set aside while attending to his family’s various business endeavors), and those in the art circles were undoubtedly curious about De Luna’s current works, having taken a low profile in recent years.
A glance at the exhibition reveals the two artists’ youthful verve: “It’s as if they were painted by people decades younger,” according to the show’s curator, Stephanie Frondoso. Puyat’s canvas works and photographs hang side-by-side with De Luna’s watercolors and oil paintings. Also on view are collaborations between the two friends, with De Luna painting over Puyat’s photographs. Overall, Resurgence is an opportunity to celebrate a return to the two artists’ shared passion and their decades-old friendship.
While few knew of Puyat’s art practice, his corporate profile is of common knowledge. He is the son of the late former Senate President and visionary business leader Senator Gil Puyat. The late senator was esteemed for his role as a politician and a businessman who founded a bank, an insurance company, and, more famously, the Loyola Group of Companies, two of its subsidiaries being the Loyola Memorial Parks and the Loyola Memorial Chapels and Crematorium.
Puyat’s love for the arts stems from his mother, Eugenia Guidote, an accountant and trained opera singer who encouraged her young son to take piano lessons. She also arranged painting lessons with no less than Galo Ocampo, the acclaimed modernist. After getting his first camera in his early teens, photography became a hobby that Puyat pursued well into adulthood. Joel Geolamen
There was a phase when Puyat set aside his own artistic ambitions to devote more time to his growing family and his various businesses. But he became a cultural advocate who lent his support to the Saturday Group of artists, as well as the writers, lensmen, musicians, and architects of his generation. Puyat would eventually become president of the Carlos “Botong” Francisco Foundation, and remains an authority on the National Artist’s works to this day.
Just as important is Puyat’s efforts in introducing art to the family businesses which makes him a pioneer of corporate. Commissioned sculptures by Eduardo Castrillo, for example, can be found in Loyola Memorial Parks. Puyat went as far as commissioning original music by Jerry Dadap for Castrillo’s epic installation, Loyola Memorial Park’s The Redemption. Apart from supporting the Saturday Group, Puyat also initiated a painting contest where he would cross paths with De Luna, one of the competition’s winners who became a close friend and mentor.
Coming from humble beginnings, De Luna was a scholar who also taught art in communities on the side. Later on, he joined St. Scholastica’s College, Manila, where he ultimately became dean of its Fine Arts Department — a position he held for six years. While teaching, de Luna also showed his works in galleries. “I’ve had 27 solo shows,” de Luna proudly exclaimed during the opening.
Puyat considers De Luna a significant influence on his works, which is why the show appears so connected yet reveals the two artists’ individuality. Each is allowed space for personal expression, which is evident in De Luna’s watercolors and canvas works and Puyat’s digital images, acrylic, and mixed-media paintings.
The show also reveals the artists’ explorations into new techniques late in their careers, which makes it refreshing and vibrant. Puyat delved into digital photography, over which De Luna added his abstract marks. This unique collaboration speaks to the artists’ respect for each other’s practice and their unbridled enthusiasm for expanding their artistic horizons after a long absence from the gallery scene.
