10 Questions with Lucell Larawan

Lucell Larawan, an acclaimed Filipino artist, has received prestigious recognition for his work. He secured two finalist awards at the International Artist Grand Prize Championship (Art Revolution Taipei) in Taiwan and earned semi-finalist accolades at the national Metrobank Art and Design Excellence. Larawan has held seven solo exhibits at various museums and galleries in the Philippines, with his latest solo show supported by a grant from the NCCA Gallery program. He has participated in group shows in Taiwan and the Philippines while also contributing to indigenous art festivals as a trainer, curator, and hosting partner. His works have been reviewed by regional newspapers and featured in a high school book. Larawan's scholarly articles on art criticism and business have been published in international and local peer-reviewed journals, supported by universities, and a grant from the National Commission for Culture and the Arts (NCCA). Currently, he serves as the chairman of the Committee on Visual Arts for the Bohol Art and Cultural Heritage Council.

@Lucell Larawan' Art

ARTIST STATEMENT

When Lucell Larawan was three years old, his father took him to a town fiesta, where his papa returned home gasping for breath, as if he had been punched in the gut without a physical blow. Lucell cried all the way home and vowed never to experience such a thing again. Despite enduring the messy aftermath of his father’s drinking habit, Lucell designed his own freedom, yearning for liberation. His resolve was to never touch a drop of liquor, as that is how he would achieve true freedom. Instead, he intoxicates himself with his art.
Lucell was estranged to another province for the sake of his career and was passed over for promotions. These challenges only fueled his hunger for freedom.
Due to his experiences, much of his body of work focuses on issues related to freedom, using symbols to represent them. Lucell also explores themes of home and rootedness, which serve as his foundation for finding freedom. He recognizes that these concerns are universal.
The artist has evolved from a neo-pointillist approach to a hybrid style and recently incorporated mercerized cotton strings due to their nuanced meaning of connectivity and rootedness.
Overall, Lucell’s art reflects his journey to find freedom and a sense of belonging while exploring themes that resonate with many individuals.

INTERVIEW

First of all, introduce yourself to our readers. Who are you, and how did you start experimenting with images?

First of all, let me introduce myself to our readers. My name is Lucell Larawan and I come from Tagbilaran City, Bohol, Philippines. Growing up in a province that offered limited opportunities for visual artists, I didn't have much encouragement to pursue drawing or painting during my younger years. However, my artistic journey took an exciting turn when I became a sophomore student at the University of the Philippines in the Visayas, located in Iloilo City.
Although my course at the university was unrelated to the arts, a humanities teacher opened my eyes to the world of art and instilled in me a deep appreciation for it. This sparked my interest in painting and sculpting, and with the guidance of peer mentors, I began developing my skills and artistic concepts through exhibitions held in galleries and museums. During my time mentoring at Central Philippine University, I founded the Hebron Artist Club, which produced a national champion in the Metrobank sculpture, one of the country's major art contests. I also worked as a cultural worker, training and curating exhibits for the indigenous people.
Early in my art career, I focused on painting neo-pointillist artworks and also dabbled in terra cotta sculpture. However, I found the medium to be challenging, which led me to experiment with nails and wood instead. More recently, I discovered the use of mercerized cotton string to incorporate into my paintings.
While mentoring in Iloilo City, I had limited time for art, but I still managed to mount several solo exhibits. Eventually, I made the decision to leave my full-time job in Iloilo and return home to Bohol in search of a transition. Since then, I have become more prolific and have had more opportunities for art production and solo exhibits, despite facing financial challenges.
Nowadays, I find myself at a crossroads. I must choose between working with an organization or focusing solely on my art. While working with an organization may provide stability, it could also limit my freedom to create. On the other hand, dedicating myself entirely to my art aligns better with my independence and self-expression, even if it comes with its own practical challenges.

Blossoms of hope, acrylic, mercerized cotton string, and boat nails, 18 x 24 inches, 2021 © Lucell Larawan

How would you define yourself as an artist?

As an artist, I would define myself as a visionary painter and sculptor. Rather than conforming to specific styles or movements, I strive to set the pace and explore new artistic territories. Just as an author requires input to fuel creativity, I constantly research and synthesize brilliant ideas to enhance my artwork. This journey of artistic exploration is never-ending.
Being a visionary artist is not without its challenges. Many people, including my own family, struggle to understand my passion. To overcome these hurdles, I remain focused on my art, avoid distractions, and navigate my path with limited resources. I firmly believe that my perseverance and commitment will be vindicated, as being an artist is the path I have sculpted for myself.
In addition to my artistic pursuits, my background as a management professional has also influenced my approach. It enables me to think rationally when it comes to pursuing my career, ensuring that I am prepared and minimizing errors in judgment. Furthermore, my experience in writing for companies and publishing opinion articles in newspapers has honed my writing skills, which I utilize to present my art to my audience, patrons, and partners.
I apply some of the ideas from Steven Pressfield's book, "The War of Art: Break Through the Blocks and Win Your Creative Battles," which teaches strategies to conquer inner conflicts such as fear, doubt, procrastination, self-doubt, and resistance. I also maintain the right mindset through techniques like visualization and auto-suggestion.
While I may not have achieved financial stability yet, I continuously develop related skills and the mindset necessary for success through webinars on self-improvement.

In your statement, you mention freedom as one of your driving forces and a recurring theme in your work. Can you tell us more about it? And how did this concept influence your painting?

In my artist statement, I emphasize the significance of freedom as both a driving force and a recurring theme in my work. This concept holds deep meaning for me, as my personal experiences have taught me to truly value it. One cannot truly grasp the value of freedom without having faced adversity and fought for liberation.
During my teenage years, I bore witness to verbal and physical conflicts between my parents. My father grappled with alcohol addiction and often spent time with his drinking buddies. Furthermore, my parents were unable to afford to send me to college, which compelled me to pursue a scholarship in Iloilo City. There, I encountered alienation in an unfamiliar environment and faced the challenge of minimal financial support.
Throughout my professional career, unrelated to art, I encountered the ugliness of office politics, which plunged me into a state of despair. Despite being a mentor, I was repeatedly overlooked for promotion due to not being an alumnus of the institution and not adhering to their specific religious beliefs. Moreover, my expertise in academic research did not find a supportive environment.
These experiences have shaped my understanding of freedom and have served as inspiration for the themes present in my work. For instance, I incorporate mythical bird symbols, such as the Adarna from our mythology, into some of my pieces. These symbols represent my longing for freedom. When I depict my surroundings, I create a manifesto that underscores the importance of home as a symbol of freedom, while forced alienation symbolizes tyranny.
My artistic approach itself serves as a manifesto of freedom, as I constantly strive to break free from conformity and unleash my spirit.

Tell us about the process of creating your work. What is your artistic routine when working?

The process of creating my work involves several steps. For painting, I begin by priming the canvas and outlining the images. Then, I layer the colors in three layers and add dots to the background to provide depth. After completing these steps, I apply the top coat. In my paintings, I incorporate strings to create organized formations, resulting in fascinating textures with different layers.
When it comes to sculpture, I shape the wood first and then gradually fill the figure with nails by half-embedded nails, which are bent together until the entire object is filled. Sometimes, I only nail a portion of the wooden object, depending on the composition.
I have established a routine for my artistic practice. I prefer to work in the morning or afternoon, dedicating focused chunks of time using the Pomodoro technique. This technique involves dividing my work into 40-minute periods of concentrated activity, followed by five-minute breaks. After completing three of these chunks, I take a longer break of 15 minutes.
During my working sessions, I find classical music and indie music by Joey Ayala to be my allies, providing a conducive environment for creativity. Occasionally, I also listen to audiobooks such as motivational teachings by Brian Tracy.
To ensure productivity, I minimize distractions and limit my time on social media or any other potential distractions.

What would you like to communicate with your work? What are the main themes you pursue?

Through my artistic endeavors, my objective is to effectively convey the profound theme of freedom and the values that propel society towards achieving greater liberation. I wholeheartedly encourage individuals to continuously seek self-improvement and dare to dream big. This pursuit demands immense courage, unwavering commitment, and unyielding perseverance.
Another vital theme I delve into is rootedness, which is intricately linked to the concept of freedom. By portraying my immediate surroundings, I accentuate the significance of remaining grounded in one's identity and becoming a source of inspiration to the immediate environment. From my perspective, genuine freedom cannot truly exist without a profound sense of rootedness. Therefore, I tirelessly endeavor to communicate this profound message through my art. I am cognizant that even though I depict my own milieu, the underlying message resonates universally.

Your paintings have vivid and striking colors. How do you choose your palette, and what does it represent for you?

My paintings are characterized by vivid and striking colors. From the beginning, I deliberately chose to use explosive and brilliant colors. While some may find my color palette excessive, I am content with my inclination to incorporate a wide range of colors into my compositions. In my view, just like a singer who performs with varying high and low notes, volume, and voice textures, using a diverse array of colors adds drama and depth to my paintings, making them akin to a captivating saga.
By using multiple colors, often unmixed complementary colors, I create dramatic compositions that evoke curiosity and captivate the viewer's attention. Colors serve as my emissaries, drawing the audience into the world I have created.

You started with a Neo-pointillist style, and you have also been using mercerized cotton strings in your painting recently. Is there anything else you would like to incorporate into your practice?

As I continue to evolve as an artist, I embrace the idea of incorporating new media and exploring different sub-themes. It is crucial for an artist to continually exercise his creative muscles and push the boundaries of his craft. Similar to a weightlifter who must challenge himself to grow stronger, I actively seek opportunities to expand my artistic practice.
Reflecting on this, I am considering the addition of fabric in my mixed media compositions. This would add another layer of texture and visual interest to my artwork, allowing me to express myself in new and exciting ways.

As you mention in your biography, you are an acclaimed artist, and you have participated in several prizes and exhibitions. What do you think about the art community and market? And what do you do to keep them engaged in your work?

The art community and market function within an economy of attention, as elucidated by Zorloni and Ardizzone in their article "The winner-take-all contemporary art market." In this context, an artist's demand and cultural value escalate when their artworks garner significant attention and attract buyers. Although I am still striving for financial stability and have faced my fair share of rejections when applying for shows or grants, I remain undeterred in my pursuit of tapping into the economy of attention.
To keep the art community engaged with my work, I actively seek opportunities to showcase my art through exhibitions, grants, and contests. I do not hesitate to present my artistic vision and have been fortunate enough to have had seven solo exhibits in prestigious galleries and museums, including the National Commission for Culture and the Arts Gallery, Qube Gallery, Prism Gallery, Museo Iloilo, UP Art Gallery, and La Salle Museum. In addition to solo exhibitions, I also participate in group exhibits in Manila, the capital of the Philippines.
While some may discourage proposing shows directly to galleries, I have discovered that it has yielded positive results for me in certain cases. Building relationships with curators and cultivating connections within the art community is crucial for artists. Competitions also play a significant role in gaining recognition, and I actively seek opportunities to participate in contests. This approach has resulted in being recognized as a finalist in renowned competitions like Art Revolution Taipei.
To further engage the art community, I leverage my writing skills. I seek reviews of my art through regional newspapers and contribute articles that promote my artwork in newspaper columns. These dialogues contribute to the development of the art ecosystem and propel my artistic career forward.

What are you working on now, and what are your plans for the future? Anything exciting you can tell us about?

I have recently concluded a successful solo exhibition at the Modala Resort in Panglao, Bohol. Currently, I am working on a commissioned piece for an Instagram friend who discovered my paintings through social media. Furthermore, select artworks of mine will soon be available for purchase on renowned online platforms such as Saatchi, eBay, and Artmo.
In my home province of Bohol, several upcoming resorts have expressed interest in commissioning and acquiring my artwork, which presents promising opportunities for the future. I am actively seeking ways to connect with curators through Zoom studio visits, with the aim of securing more exhibition opportunities. Additionally, I continue to actively seek grants, artist residencies, and contests that can further expand my artistic practice. Establishing connections with art patrons who share my belief regarding the impact of my art on society is another important goal I am pursuing.
Moreover, I have aspirations to hold solo exhibits and join biennales outside my country. While I may not yet possess the financial means to realize this dream, I remain open to the possibility of attracting patrons, grants, and awards that can propel me toward this goal.

Portal to my dream, acrylic, mercerized cotton string, and boat nails, 30 x 30 inches, 2021 © Lucell Larawan

Finally, share something you would like our readers to know about you.

Lastly, I want readers to understand that my Christian faith plays a vital role in shaping both my work ethic and lifestyle. I firmly believe in a higher power that has bestowed upon me the gift of painting and sculpting. Miracles occur in conjunction with self-discipline and perseverance, which serve as my sustenance during challenging times. While I have encountered obstacles since leaving my full-time teaching job in 2014, I remain hopeful and resolute in the pursuit of my dreams.
Furthermore, my undergraduate and graduate degrees in management have played a pivotal role in my artistic career. The knowledge and skills acquired from these programs have equipped me to serve my community effectively as the newly elected chairman of the Committee on Visual Arts of the Bohol Art and Cultural Heritage Council. I am enthusiastic about utilizing my education to contribute to the development and promotion of the arts in my local area.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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