Beyond Visual Eloquence

"I believe that an artist thrives in imperfection.

If he finds himself in a comfortable situation,

there won’t be any motivation.

He’ll just sleep. I want to work in a place that

is a little bit chaotic with my tools – the

things I love the most – all over the place.

That to me is quite challenging. But I guess,

it varies from one artist to another."

 – Marcel Antonio’s thoughts on working in his

 own studio. 

Considered to be among the most important

modern Filipino painters in the local

contemporary art scene,

Marcel Belleza Antonio received much acclaim

both from critics and aficionados for

his unwavering

penchant for grand narrative figures conveyed

through acrylic or oil on canvas.

Currently an exclusive artist of

Galleria Quattrocento, Marcel is highly noted

for his pieces of works that resemble a string

of poems and stories expressed through visual

means. He was able to build a huge following

for his works, which thrive in vibrant shades

and tones constantly echoing myth, ambiguity,

and reality

intermingled with one another.

His wide-ranging

audience locally and internationally continues

to clamor for his striking and distinctive human

figures and luminous still life works. Indeed,

Marcel proves to be worthy of the accolade of

loyal collectors, the delight

of several art dealers, and the aspiration of

many of his colleagues in the industry.

THE NAISSANCE OF A YOUNG PROFESSIONAL

While still a sophomore in the University of the

Philippines College of Fine Arts, Marcel already

emerged as one of its most promising art

students, having been able to exhibit his works

in a solo exhibition. His professional career as

an artist catapulted in the exact same year.

Consequently, he had to deal with the

pressures of being a student and a burgeoning

artist at the same time.

Now already in his forties, this articulate artist

admits that he went through a number of

transitions in terms of his art, but remained true

to his belief that humans will continue to seek

images of themselves in order to gain a deeper

comprehension of their own worlds.

His works still belong to an unrestrained,

non-literary

approach in storytelling and subtly implied

narrative with

humans playing the pivotal roles.

Coming from parents who are accomplished

artists

themselves—Angelito Antonio and

Norma Belleza—it

might be easy to arrive at the conclusion that

Marcel’s

endowment and propensity for art is in his

genes.

However, he asserts that his skill was actually

nurtured.

As a matter of fact, Marcel’s interplay of

visions and

thoughts in his works show no hint of influence

from his

parents’ artistic style despite being exposed to

their art

realm as he was growing up. Instead, he

managed to

develop and mold his own aesthetics and

sensibilities,

and this became highly evident and operative

throughout

his career. He deems that one’s ability to paint

or draw

can be learned, just like what happened in his

case.

He believes that he was never a virtuoso, but

rather, living

proof that it is possible to chisel one’s craft

with

adequate willingness and perseverance.

As a child, his creativity was spurred by his

fondness for

pop culture, most especially for comics and

animation.

He even revealed that it was his childhood

dream to

become an animator.

"I grew up reading comics and things like that,"

he

shares. "I remember the times when my father

would

teach me how to draw a muscled man.

I guess my passion for figures and storytelling

comes

from that."

According to Marcel, although his works’

themes vary

from time to time, he derives most of his

inspiration

from peculiar contemporary mythologies.

Marcel stressed

that the concept of mythology which he

follows goes

beyond the common Greek and Roman notion.

"Myth can be anything, just like what

Joseph Campbell

enunciated in ‘The Power of Myth’, where he

discussed

comparative mythology and the continuing role

of myth

in human society."

ON THE ISSUE OF ORIGINALITY IN ART

Even up to present times, some artists and

critics are

still almost always on the side of novelty

and originality

in art. They seem to remain adherent to the

idea that

much of today’s art is recycled, derivative,

and restively

self-aware. When most artists emphasize on

the

significance of originality, Marcel takes on

a different

direction.

"My father used to tell me to not be afraid to

copy as

it is the safest way of studying.

Even the masters did it.

After all, there is a saying that you can only

equal your

master, but never surpass [him or her].

Originality is a

19th century idea na hindi mamatay-matay

when right

now wala naman na talagang original.

Striving for

originality in art is delusional. You can only do

so

much," he muses.