a center for creative development
TOPAZ ARTS presents Unearthing the Magic
on view October 26 through November 23, 2013
opening reception: Saturday, Oct 26, 3-6pm
TOPAZ ARTS, 55-03 39th Ave,Woodside, NY: directions >
Viewing hours: Saturdays 12-4 or by request info@topazarts.org
TOPAZ ARTS is pleased to present Unearthing the Magic – a solo exhibition of wood sculptures by Mamerto “Lagitan” Tindongan on view from October 26 through November 23, 2013. An opening reception will be held on Saturday, October 26, 3-6pm as part of TOPAZ ARTS’ 13th Annual Open House, with a book launch by award-winning artist Grace Nono “Song of the Babaylan: Living Voices, Medicines, Spiritualities of Philippine Ritualist-Oralist-Healers.” Both artists will give a presentation with a special collaborative performance by Tindongan, Grace Nono, and choreographer Paz Tanjuaquio. more >
About the Artist:
Mamerto Tindongan began carving at the age of eight. A member of the Ifugao tribe of the Philippines, he was mentored by master carvers in their tradition. This upland cultural minority group resides in the Cordillera mountain range of Luzon Island. Tindongan’s roots in the indigenous culture informs his work, infusing his wood art with energy from his tradition’s deep connection to the natural environment and the guidance of ancestors’ spirits. A healer, Tai Chi & Qigong practitioner, and a world-class competitor in the ancient art of atlatl (or spear throwing), Tindongan takes a holistic approach as an artist working in communion with wood, allowing the shape, size, grain, and other characteristics of the wood to guide him in uncovering the final form.
Artist Statement:
“I seek to respect and celebrate the temporal and spatial relationship between humans and all living things with the earth. I believe in the duality of life. The cosmos is made up of two opposing yet complimentary forces. Our pursuit of happiness hinges on balancing these forces, and recognizing the importance of the interconnectedness of life. Eternal happiness can be achieved by mastering the art of uniting these forces into one. I can find balance in my medium–wood. In the confluence of line, shape, and form my carving unearths the magic of the medium. Indeed, whenever I work with wood I fuse with its energy vibration. Together, we transform our shapes.
I give importance to the process of creating my piece, and if not more importantly, to the finished product for health and spiritual reasons. I benefit not only from the physical exercise involved, but also from the energies emitted by the different types of wood. Before cutting down a tree, I ask for forgiveness, consider the direction of the fall to make sure sturdy young trees will not be crushed, and warn the spirits inhabiting the area. The traditional hand tools I use connect me to my cultural tradition. Following my tradition, I take my time roughing out my sculptures where the tree is cut down. Depending on the kind of work I am doing, I may perform a ritual and/or make an offering to the appropriate deities to reciprocate for the gift of wood that I receive.”
This exhibition features Mobius Circles and Double Helixes – representations of the artist’s life’s principles.
Tindongan explains, “The mobius circle is rich in meaning. It is homage to French Mathematician, Ferdinan Mobius. To better understand the process of creating this design, imagine a rubber band that has a triangular, rectangular, or square cross-section. Cut this rubber band then twist it once and reconnect. This simple technique turns the three corners of a triangle into one, or the four corners of the rectangle or square into two. Because of this interesting transformation, I call this design Bridge of Understanding. It could mean bridging human with human; human with other life forms, or mind, body, and spirit.”
“Like the Mobius Circle, the Double Helix (DNA) design can be a representation of the interconnectedness of life – seeing it as representing the Yin and Yang energy or the Positive and Negative forces of an atom or the universe. This particular DNA design evolved after I finished a Core Grant Program for science teachers, incorporating scientific principles and teaching methods into my wood art designs. The beauty of this design can be seen in various angles, either horizontally or vertically. It can also be a functional piece, like supporting a beam, serving as a fireplace mantel, or a bench. Like Constantine Brancusi’s “Endless Column,” the height can fit the highest ceiling. The DNA and Infinity Symbol are like the “Tree of Life,” which is recognized in many cultures that humans in some respects resemble trees. Our feet are like the tree-roots gaining nourishment from the earth, and our arms are like the branches receiving nourishment from outer space in the form of oxygen and sunshine from all around us.”
More about the artist at www.tindonganwoodsculptures.com
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