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By Jose Angelo D. Cantera
Even mothers need to grow up. But for a
prominent mother figure in the art world like Chichi Salas, that
growth could be as simple as finding a new home for her “kids.”
Thus, her brainchild, Gallery Genesis, has graduated from the
Artwalk in Megamall to quite possibly a more challenging venue; the
Tektite Building in Ortigas. But while much has changed in terms of
space, it is highly doubtful that there will be any in terms of
management. After all, it was Salas’ respect for Filipino artists
that has kept the gallery afloat for the last 26 years. And that
high regard shows no signs
of dwindling.
“I’ve always believed that in [Asia,]
Filipino artists are the ones who have really good eyes and hands
when it comes to doing art pieces,” Salas told The Manila Times.
“And you’ll find that in foreign auctions, they are the ones who
sell. Most of them have a very good sense of color. They have a very
good sense of harmony. And they are very honest when it comes to
their subjects.”
“Before I got into the art business, I found
that some people had no respect for artists and I couldn’t accept
that. I could barely draw a tree and then came this person who could
draw nice things and people looked down on him. I couldn’t stand
that. That’s why I put up a gallery.”
And so it began. With the support of her husband
Ernie, Salas put up a gallery back in 1982. And when her reasons for
doing so reached the thriving art community nearly crippled by the
dictatorship, it was them who saw it as a new beginning. It was them
who christened it with the name Gallery Genesis.
“When we started, it was easy enough to get
artists,” said Salas. “It wasn’t much of a challenge inviting
them to be resident artists because at that time, there were not
that many galleries that show their work.”
Soon enough, the walls of Genesis nurtured works
from the country’s most celebrated artists. And with talents like
Mario Parial and Vincent Ramos solidifying its then vague identity,
it now holds steady ground for showing nothing but the best.
“I’m very strict in quality,” said Salas.
“If you do not pass my standards, I’m sorry. People don’t get
invited to show their work just because I know them . . . no. I have
to see the work they’re doing to see if they merit an
invitation.”
But while this may render Salas’ identity
daunting at first, it is really no more than a mother’s right to
exercise tough-love when she sees fit to do so.
“Of course, I share my criticisms nicely so
all of them have remained my friends over the years. The young ones
even until now [usually] end up getting frightened. But soon enough,
as soon as they paint good paintings, they would realize that I’m
just being fair. I don’t want people to remember an artist for
doing bad paintings.”
And passing such standards are worth it. Like
most of the country’s successful galleries, Genesis boasts a long
and extensive curatorial program that allows each collection to be
well thought of and well executed. It also provides financial
assistance and the prestige tied to it often inspires them to excel
in their craft and brush half-hearted efforts. More importantly,
their work would also be treated with Salas’ talent for presenting
pieces; a gift that only a true art lover could ever hope to posses.
“For me, putting up paintings came
naturally,” Salas proudly stated. “I was never faulted for the
way I hang paintings. I have a way of hanging paintings that allows
the pieces to seem as though their not competing with each other but
rather in a way that allows them to work together.”
But while the Gallery Genesis faces no
problems in terms of the quality it presents, it too cannot escape
the financial situation of the country. For Salas, the biggest
challenge has always been paying the rent.
“It’s not easy to sell paintings during
these difficult times,” she said. “That has always been the
biggest challenge we had to face.”
But while the economic weight continues to
disenfranchise both art collectors and artists alike, Salas’ pitch
remains the same when it comes to selling pieces. “If it makes you
happy looking at it, then that’s the painting for you. If you
really appreciate it, then buy it because that’s your painting. If
you can’t decide whether or not you should, go home, sleep on it
and if you still can’t forget it when you wake up in the morning,
go for it.”
And while the future remains murky for galleries
in the Philippines, Salas still maintains her faith in the talent of
Filipino artists; a disposition resembling that of a mother
maintaining faith in her young.
“I cannot ignore the financial situation right
now,” she said. “But every year, there are new artists that come
up. As for the financial situation, everything has its highs and
lows. There is a saying that artists paint better during the hard
times but I believe that a good artist is a good artist—good times
or bad times.”
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