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.