The First Asia Pacific Triennial of Contemporary Art

J Edgar Fernandez was born in 1955 in Caloocan City, the Philippines. He studied fine arts at theCollegeof Fine Arts, Philippine Women's University, majoring in commercial art and interior design. From his first paintings in 1974, Edgar Fernandez has emerged as an outstanding social realist with a wide thematic range and a wealth of creative resources. His highly original abstract paintings won the grand prize in the 'Civilization' art competition in connection with Kenneth Clark's television series of the same title. He did 'modular paintings', the elements of which could be rearranged at will. In his abstract works he effected striking contrasts between hard-edge geometrism and random effects, combined with modulations of tone. When he joined the Centre for the Advancement of Young Artists in 1976 he became associated with the Kaisahan group of young artists with a sociopolitical orientation. In 1981 he won a travel grant to Francewhere he painted his 'Metro' series dealing with the struggle of Filipino migrant workers. Edgar Fernandez's figurative work, highly symbolic and enriched by abstract elements, is characterised by the spirit of experimen­ tation in different mediaand techniques while dealing with social themes. While the majority of his works are paintings in oil on canvas, THE PHILIPPINES EDGAR FERNANDEZ he has also done three-dimensional work in wood and other materials and has exper­ imented in photographic techniques. He has dealt with the theme of Filipino identity in paintings of highland groups. His 'Mother and child' series, in which he has a number of major works, reinterprets the familiar subject by contextualising it in the condition of the people's struggle. Unfinished painting of th_ e present con­ sists of ten panels. At the centre is the large, standing figure of Mother Earth holding an eye; in the iris of the eye is a reflection of a child in the womb, symbol of the future. The skull on which Mother Earth stands is Death which she has conquered. As in a number of his works, Fernandez uses the colour sym­ bolism of the Philippine flag-red, whiteand blue, with yellow for the sun and stars- to suggest political and historical meanings. In the background is a fortune plant which rep­ resents the will to live though its roots are cut. On the left are figures of militarisation with bristling weapons of war. These, according to the artist, are double-edged in meaning, alluding to both military aggression and people's resistance. This section is balanced on the right where weapons are converted into ploughshares representing the nurturing of life and the generations to come. TheMother Earth figurewhich dominates Unfinished painting of the present is a tran- 35 Pintang Hindi Tapos ng Kasalukuyan (Unfinished painting of the present) 1990-93 Oil on canvas 10 panels: 150x 120cm (each) Collection: The artist scendental symbolwhich, from the struggles of today, anticipates a future of peace and fulfilled humanity. Alice Guillermo