Daily Tribune‘You have to believe in yourself so others will believe in you. Try, practice and hone your skills,’ Anna enthuses. ‘Find your originality…that one thing that will make you identifiable, (so) that when they see an artwork, they can say, ‘That’s an Orlina.’’
RAMON flanked by Anna and Michael after an interview on DAILY TRIBUNE’s Pairfect hosted by Dinah Ventura.
PHOTOGRAPH BY DANI MARI ARNAIZ FOR THE DAILY TRIBUNE
‘EARTH Forms’ by Ramon, Anna and Michael Orlina.
The soft curves of a woman’s breast and torso, or the Pintados tattooed shoulder of a warrior princess. Molded, carved and etched in green glass. In the Philippine art scene, Ramon Orlina’s sculptures are among the most recognized, and the most coveted — often fetching a high six to seven figures at auctions. In his hands, glass is a malleable medium, bending to his will into any form he can imagine. Each piece is a unique expression of his artistic vision and passion for his craft.
Fifty years later, Orlina is still as prolific of an artist, referred to as the “father of Philippine glass sculpture.” Yet perhaps his greatest legacy is that he now shares his art with his children Michael and Anna. “I’ve always thought of having my son and my daughter continue what we’ve been doing,” Orlina shares. “I am happy to be doing this with them. Presenting under the moniker R.A.M., they give us a rare perspective of how art can sculpt a family legacy that speaks of their identities both as Filipinos and as artists.”
A SHARED PASSION
As it turns out, art is a shared passion for the Orlina family. Although for Ramon, his road to becoming an artist didn’t happen quite as organically. Growing up at a time when art was not seen as a career — “My father used to tell me, ‘baka magutom ka diyan (you might starve in that kind of work)’” — he pursued a degree in Architecture at the University of Sto. Tomas at his father’s behest. But it was also the early ‘70s in the Philippines, where martial law and an uncertain economic climate led to stalled or cancelled projects. This became the impetus for him to reconsider giving art another go. “I started by painting on glass, creating images on the reverse side,” he explains, as an artist who is primarily self-taught. That was in 1975. He shifted to glass sculpture the following year, and he hasn’t stopped working since.
For Anna and Michael, who are two of four siblings, becoming artists felt more like a natural progression — inspired by their dad’s work, and supported by their mom, Lay Anne. “Growing up, I was always the one who showed artistic promise. They would say, ‘mana kay daddy,’” says Anna, who is a multimedia arts graduate of De La Salle — College of St. Benilde (CSB). “I was passionate about it, but I wasn’t sure what medium I wanted to work with.”
At her father’s suggestion, she gave glass a try, making her way to Pilchuck Glass School, founded by renowned glass artist Dale Chihuly, in Washington State. Accompanying his sister on that trip also became an artistic tipping point for Michael, who had a long break from school before starting his Art Management course in CSB. “At the time, I thought I could be an art gallerist or curator,” he explains. “This trip opened our minds too, exposing us to different ways to create glass art.”
The course became a formative experience for both of them, building on their artistic foundation. “It was also the first time we were exposed to glass outside our dad’s studio,” Anna adds. “It was nice to see what other art techniques in glass there are.”
Growing up watching their father at work in the studio and amid his beautiful sculptures, the elder Orlina’s influence on his children’s choice to pursue art is something Anna and Michael take a lot of pride in. “We are amazed by our father — the way he works and the things he’s done,” Michael says, who would start his glass sculpting journey mentoring under his dad. Anna echoes that sentiment, often asking for her father’s insight on her work. “Our works are very individual, but as our mentor, we ask him what do to when we are feeing stuck,” she says. “It’s nice to have a second opinion and to have that as a guide on which way to go.
What does Orlina think? “Mukhang magaling pa ata sa akin (Seems they are much better than me),” singing his children’s praises, pleased that they have such distinct styles, while still all working with glass.
Among the other things they have in common? Their dimples! “…pare-pareho kaming mga may dimples, ‘yung isa kong anak, kaliwa, kami pareho kami, dalawa (we all have dimples; one has it on the left cheek, we, two, have it on both cheeks).”
Anna and Michael do find it interesting when, as they are experimenting with styles and mediums, a piece arrives in their shop for repair, and they think, “‘Oh, this looks like what I did, but he (Orlina) did this in the 1980s something,’ but you know, it’s part of it, and I’m happy about it,’” Michael says.
CREATING MONUMENTAL WORK
In his early days as a sculptor, Orlina’s skill at manipulating glass caught the attention of Republic Glass, who offered him a scholarship to study art in the Czech Republic. Believing he could have greater impact as an independent artist, he asked them, instead, to let him spend time in their factory to study how the glass was made — informing how he would later create with it.
And the knowledge he learned there proved to be invaluable. “He adopted what he learned from that experience, including fabricating his own machines for our shop,” Michael explains. “They are unlike any other that you will find anywhere else.”
Five decades hence, his body of work has amassed in the thousands — found in museums, art galleries and private collections both here and abroad. Some are housed in the Museo Orlina in Tagaytay, which the Orlina family opened 10 years ago, and is managed by Orlina’s wife. “Three floors are for my works, but I turned the first floor into a gallery museum where artists come to exhibit their works and sell,” the artist says. “We have a new exhibition every two to three months, to represent artists and artists groups in the area.”
Michael notes, “We also use the space to do shows about sculpture, which isn’t as prevalent as paintings here in the Philippines.”
These days, the three Orlinas often present their work as R.A.M., short for Ramon, Anna, and Michael, their latest being at this year’s Art Fair under Galerie Stephanie.
Working with a theme in mind, they work within their individual styles and aesthetics, but it still feels like a cohesive whole. “In the last show, my dad did nudes, and torsos in color, while I did abstract,” shares Michael. They have collaborated on a single piece together — a commissioned work for a TV show about them working together — that later became part of a private collection. “We created one piece each that was held together at the base. So you can view them separately, or combine them to understand the story,” Anna explains.
A FAMILY LEGACY
As they say, beauty is in the eye of the beholder, especially when it comes to art. All three agree that they hope their artwork will bring joy and beauty into people’s lives. Especially with the unique perspective that glass art brings — “You can look through it and you can look inside of it. As my dad always tells me, ‘When you work on one side, you’re also working on the other side,” Michael says.
It also becomes a source of national pride, with some of Orlina’s biggest pieces on display in Singapore and other parts of the world. “With technology, it’s easier to share your work with internationally,” Anna adds.
One thing is for sure — the Orlina name has found itself on a pedestal in the Philippine art scene, rising on an every-evolving creative vision and a distinct artistic voice.
Ramon Orlina’s pieces are the result of years of trial-and-error, intense study and a continued curiosity to know more. “You have to be original, and really dedicated to do what you want, you passion, hard work, tiyaga. You have to expand yourself,” Orlina muses.
His two artist children espouse the same values, allowing them to take glass and also create pieces that are just as beautiful as their father’s work, but with their own distinct personalities. And art fans are starting to take notice.
“My dad would always tell me, ‘You have to believe in yourself so others will believe in you. Try, practice and hone your skills,” Anna enthuses. “Find your originality… that one thing that will make you identifiable, (so) that when they see an artwork, they can say, ‘That’s an Orlina.’”
