The ‘Female Oblation’: After #UPlift, Ferdie Cacnio Will Continue to Create


The Female Oblation: After #UPLift, George Cacnio Will Continue to Create. Written by Tricia Zafra for SubSelfie.com.

He wasn’t able to sleep the night his masterpiece, “Uplift,” was shown to the public, in front of the University Theater of UP Diliman, during the full bloom of sunflowers along University Avenue, at a celebratory time of commencement exercises.

It wasn’t because of uncontainable sense of achievement that the visual artist was still restless as the long day came to a close, and that finally, after seven years of breathing life to metal, his creation may now lift spirits, evoke feelings, provoke thought, awe, inspire, or be critiqued.

​The desired effect was achieved. Many saw the work as the female counterpart of the Oblation statue and instantly understood what the sculpture stood for. But someone noticed something else and pointed out the similarities of the artwork with that of the Virgins of Apeldoorn that has been on public display in the Netherlands since 2001.

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Visual artist Ferdinand Cacio beside one of the 50 replicas of his creation Uplift.

​As a visual artist, Ferdie Cacnio says he has always been open to criticism. But for someone who has, all his life, strived for distinctiveness, and who always tells his children, “Huwag kang papasok sa isang bagay na magiging pamparami ka lang,” (don’t enter in any field where you will just become fluff) plagiarism was the most unacceptable controversy he never imagined tainting his reputation.

“Okay lang ako doon sa comparison. Pero ‘yung akusasyon na kinopya ko raw ‘yun, nakakainsulto naman masyado. Kasi sa totoo lang, sinasabi ko na nga hindi ko kilala ‘yung artist. Papaano mo kokopyahin ang isang bagay na hindi mo pa nakikita?” (I’m ok with the comparison. But the accusation that it was copied, that’s very insulting. Actually, I don’t know the artist. How can I copy something I haven’t seen?) Cacnio tells me on a Sunday afternoon,  days after his creation blew open debates on art, at least on social media.

​Like most artists, Cacnio, born in 1960, learned to draw and mold clay before he could write. The influence could have come from his father, Angel Cacnio, a painter. But it was not until 2005, after 20 years of working as an art broker, layout artist and graphics designer, when the younger Cacnio decided to start a career out of creativity. His inspiration for his first works was his love for dancing during his college days.

Odette

A post shared by Ferdinand Cacnio (@ferdiecacnio) on

Chilling

A post shared by Ferdinand Cacnio (@ferdiecacnio) on

“Bakit dancing? Kasi hindi ako marunong kumanta. Sinubukan kong maggitara, masakit sa kamay. Tinanong ko sarili ko, saan ba ako magaling? Movement.” (Why dancing? Because I don’t know how to sing. I tried playing the guitar but it’s painful for my hands. I asked myself where am I good at? Movement.)

​So he manipulated metal, turned them into graceful women, and made them dance after him. Most of his welded brass works depict dancing women that Cacnio made to balance on one foot or by strands of brass hair using his knowledge of engineering. He points out that this consistency can be observed in his works and that this should have been considered by those who have doubted his originality.

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“Sana bago sila nag-akusa, nag-research muna ng background ng artist.” (I hope before they accused, they researched the background of the artist first.)

​There are two miniature versions of “Uplift” in Cacnio’s living room. One is part of a collection made in 2008 for an exhibit entitled “Levitation.” Cacnio recalls how challenged he felt when he was invited to join the said exhibit and how it compelled him to come up with an idea that he didn’t expect would be used against him later. “Naisip ko, paano ba palulutangin ‘yung katawan. Naisip ko, sa buhok.” (I thought of ways how to make the body float. Then I thought: the hair).

​In 2015, Cacnio released 50 replicas of the statue to fund the making of “Uplift,” a project of UP Diliman Civil Engineering batch 1985, which Cacnio is part of. They needed P60,000 to complete the sculpture.

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​”Uplift,” Cacnio tells me, was heavily-influenced by his life as a student for nine years in UP Diliman, where he finished B.S. in Psychology and B.S. in Civil Engineering in 1981 and 1985, respectively.

​”It’s about honor and excellence. Upliftment. Kaya nga ang title ay U-P-lift. Angat. Bakit naka-spread ang arms? Kasi hindi ka aangat kung hindi naka-spread ang arms mo sa mga itinuturo sa’yo.” (That’s why the title is U-P-lift. Levitation. Why are the arms spread? Because you won’t succeed if you don’t open your arms to knowledge.)

​Cacnio’s art always imitated his life experiences. When he created a series of brass houses on stilts for an exhibit, he said he thought of life growing up in flood prone Malabon. And when he created brass trees for an exhibit in 2010, he thought of the Narra trees in UP. Indeed, as art imitates life, life enriches art.

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​As a visual artist, Cacnio says he has to be open to experience, even to unwelcome ones, such as the allegation of plagiarism.

“Life will go on,” he tells me smiling, as if he has already figured out how this experience could, in the future, influence his creations.

[Entry 231, The SubSelfie Blog]

About the Author:

Tricia Zafra

Tricia Zafra is a senior correspondent and anchor of GMA News. She was 2016 OFW Gawad Parangal Favorite Female TV Newscaster, 2016 Certificate of Creative Excellence recipient of the US International Film and Video Festival Awards, 2014 Best Culture-Based TV Reporter of NCCA’s 1st Gawad Sagisag Kultura ng Filipino Awards, and 2012 Plaque of Recognition recipient of the 4th National Statistics Month Media Awards.  She  is currently taking up graduate studies in Psychology in the University of the Phlippines, Diliman. She is a vegetarian, a painter, and a certified open water scuba diver. BA Broadcast Communication (cum laude), 2007, UP Diliman. Read more of her articles here.

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One Comment Add yours

  1. Jam says:

    The female counterpart of the “Oblation” by Guillermo Tolentino for ‘female oblation’ is the work of National Artist in Sculpture and student of Guillermo Tolentino — Napoleon Abueva called “Magdangal” found at the CAL building in UP Diliman. “UP Lift” by Ferdinand Cacino should not be refered to as the ‘female oblation’. I believe it is a title propagated by the uninformed, leading to much misunderstanding. Please do not remove this title from Sir Abueva’s work. He has worked and contributed so much to Philippine art as a National Artist. Salamat po! —
    Please see links: *Read the caption from http://www.philstar.com/arts-and-culture/633947/abueva-handsome-hunk-book-befitting-artist — “A couple of years ago I listened to him as he explained how his fellow National Artist, the poet Rio Alma, had inspired him to create a female counterpart to the iconic Oblation. The sculpture “Magdangal” stands in front of the new CAL building.”

    *Caption from http://ubeltplaces.blogspot.com/…/art-and-history… — “Magdangal Statue, another of the creation of Napoleon Abueva that was located at the front of the College of Arts and Letters building. Abueva created Magdangal to become the female companion to the Oblation. The statue is looking at the Oblation’s direction since it is far from the Quezon Hall where the Oblation is located.”

    *Caption from http://wikimapia.org/8771198/tl/Magdangal-Statue — “Si MAGDANGAL ay isang bagong rebulto na likha ni Napoleon Abueva, ang ating Pambansang Alagad ng Sining para sa Eskultura para sa pagdiriwang ng sentenaryo ng ating unibersidad. Ang rebulto ay isang diwatang pinakikinang ng naisalbang dangal, na umusbong mula sa mapanganib na dagat ng kasakiman at kurapsiyon. Ang isang kamay niya ay nakahanda upang harapin ang anumang panganib at ang isa naman ay nakabukas, handang umalalay at mag-alay ng pagmamahal at pag-aaruga. Ang kanyang mga mata ay mulat na mulat – nakatingin sa isang magandang bukas. Ang militanteng hubog ng rebulto ni Abueva ay isang alegorikong oposisyon sa mater dolorosa at sa tradisyonal na dalagang bukid. Ang pangalan ng rebulto, na isang pandiwa ay nagsasaad sa patuloy na pagtuklas at pagbuo ng isang pambansang dangal. SI Magdangal ay unang ipinakilala sa kolehiyo nung ika-26 ng April 2008.

    Ang pormal na paghawi ng tabing ni Magdangal ay magaganap sa isang seremonya sa Hulyo 8, 2008, ika-3 ng hapon sa harap ng bagong gusali ng KAL. Inaasahang dadaluhan ito nina National Artist Napoleon Abueva, President Emerlinda Roman, at Chancellor Sergio Cao.”

    *Caption from https://sculptour.wordpress.com/…/magdangal-napoleon…/ — “In celebration of U.P.’s centennial year in 2008, Abueva’s bronze sculpture entitled Magdangal was inaugurated. Situated in front of the College of Arts and Letters building, this work stands on top of a high concrete pedestal as the centerpiece of a mini-park surrounded by trees and concave benches. At the foot of the pedestal, are the words of poet and National Artist for Literature Virgilio Almario which inspired the making of the sculpture.”

    *Caption from https://upbeatdiliman.wordpress.com/category/college-beats/cal/ — “Revealed on August 2011, the statue is a sculpture of National Artist for the Visual Arts Napoleon Abueva. He said that it was fellow National Artist and CAL dean Virgilio S. Almario who suggested that Abueva could sculpt a companion to the famed symbol of UP, the Oblation.
    As we can see, Magdangal is looking towards the direction of Oble. She is actually standing there for the country’s “great national will to free itself from the shackles of history and create a new horizon of hope,” according to Almario.”

    Like

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