By Terence Krishna V. Lopez
For everyone who has been following Raoul ‘Iggy’ Rodriguez even years before he was awarded the CCP Thirteen Artists Awards (2009), it is definitive that his works are of distinct taste, form and substance and are largely political. And for art enthusiasts in the metro, there is no denying that Rodriguez is one of Manila’s most exciting artists today.
His signature pen and ink drawings that tackle urban socio-political discourses are utterly disarming to say the least. Not only because its messages are clear or that they are familiar realities the everyday people face but also because of the amount of skills applied- obviously, of epic proportions. The same can be said about his paintings that mirror urban poverty, class structures and class wars- in monochromes. And amid the familiar images, Rodriguez’ works are often cerebral, gritty and immensely engaging. They are themes and images that are sometimes simple too, but never without invested intelligence and substance. In both media, he swings very comfortably- a trait that can only be honed through years of immersion not only in his art but moreso in the social realities that surround him.
Rodriguez presents his biggest works to date via his latest 13-piece solo show ‘Hangganan’ (Threshold) at the Manila Contemporary opening this Thursday, November 14 and will be in exhibition until December 5, 2013. In gigantic pen and ink drawings, paintings and Sintra board assemblages, he does not hold back as usual. However, this time, in fact, he seems to have upped himself big-time.
Here, he presents a series of works that are gorgeous and breathtaking-aesthetics wise and at the same time very political and ideological. And with the ongoing trials that the Filipino people face- ‘Hangganan’ seems to be apt as a collection. It is both a lamentation of the social realities and a call to action. It presents the Philippine society in a way gallery goers do not usually see. He brilliantly and meticulously created images of urban strife with an utmost sensitivity.
With the images mirroring urban poverty and class struggles- the ordinary at the edge, in the margins, everyday- what needs to be done? That seems to be the question of Rodriguez or the show. On the other hand, with these powerful masterpieces, Rodriguez seems to be giving away the answer though- that at the end of the day, when we find ourselves in the margins, or in the limits of our threshold, something must be done. A change is in order.
*Better known as Iggy, Raoul Ignacio Rodriguez is an artist and activist. He majored in Advertising at the College of Architecture and Fine Arts at the University of Santo Tomas in Manila.
