Agnes Arellano

hideThis article has multiple issues. Please help or discuss these issues on the talk page. (Learn how and when to remove these template messages) A major contributor to this article appears to have a close connection with its subject. It may require cleanup to comply with Wikipedia's content policies, particularly neutral point of view. Please discuss further on the talk page. (January 2017) (Learn how and when to remove this template message) This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please help to improve this article by introducing more precise citations. (January 2017) (Learn how and when to remove this template message) This article needs additional citations for verification. Please help by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources:  –  ·  ·  · scholar · JSTOR (January 2017) (Learn how and when to remove this template message) (Learn how and when to remove this template message)

Agnes Arellano (born 21 November 1949) is a Philippine sculptor known for her surrealistic sculptural groupings.

Career[]

A family tragedy that occurred in 1981 determined the course of her career and the major themes in her art. Her parents, her sister Citas and a housemaid were killed in a fire that razed the Arellanos’ ancestral home in San Juan, Metro Manila. Arellano received news of the fire while she was on holiday in Spain. In memory of her late parents and sister, she decided to set up the nonprofit Pinaglabanan Galleries on the site of the ancestral home. Many unusual Philippine and foreign artworks were to be exhibited there, and talented artists were also given subsidies.

Arellano commemorated the tragic death of her parents and sister 7 years later with a multimedia event called Fire and Death—A Labyrinth of Ritual Art. She created a unique installation consisting of a labyrinth of thematic shrines in the Arellano garden, combining sculptures, poetry, photographs, sound sculptures, plants, and family memorabilia. This demonstrated the deep sense of the precarious balance between death and life that she had become conscious of after the tragedy. This theme would find its way into many of her other works as well.

References[]

• Kintanar, Thelma B. and Ventura, Sylvia M. Self-Portraits: Twelve Filipina Artists Speak. Quezon City: ADMU Press, 1999.
• Guillermo, Alice G. Image to Meaning. Quezon City: ADMU Press, 2001.

This Filipino biographical article is a stub. You can help Wikipedia by .

• v
• t