Untitled

Jose Joya is widely regarded as one of the most accomplished modern artists from the Philippines, and recognised for his distinctive abstract compositions that were derived from his very personal engagements with both Eastern and Western painting traditions. While most of Jose Joya’s works during his pivotal period are in numerous private and important Museum Collections around the world, Untitled (Lot 32) is the final instalment of the most significant early pieces by one of the Philippines’s National Artists ever offered at auction. Part of a collection from a friend of the artist during his post-graduate year in Cranbrook University through the Fulbright-Schmidt Mundt Scholarship, the present lot offers the essence of the art of Philippines’s most ambitious and influential artist. Tirelessly honing his artistic practice, Jose Joya was not only able to find his true self, but also realize new artistic heights.

JOURNEY OF FINDING ONESELF
Like many of his contemporaries, Joya received a formal education in art while he studied at the Philippines University, focusing on the Western technical practice of realism. Sketches were part of his daily practice and many of his sketches were of landscape scenes, as well as portraits. It was through a book on Paul Cezanne, his simultaneous involvement at the Philippines Art Gallery, and interaction with his contemporaries such as Hernando Ruiz Ocampo, Arturo Luz, Anita Magsaysay- Ho, Vincente Silva Manasala as well as Fernando Zobel, which later became the profound influence on his art, propelling Joya towards the world of distortion.

THE EPITOME OF ABSTRACT EXPRESSIONISM MOVEMENT IN THE PHILIPPINES
A Pioneer artist in the Philippines that liberated himself from the classical training of art-making, Jose Joya celebrates the union of the East and the West through composing a pictorial symphony in each of his canvases. Spontaneous and energetic in execution, the present painting draws from the Abstract Expressionists and their desire to tap on the primal impulses to create, unhindered by the reality of nature. Adopting a strong sense of empathy between the artist and the landscape, characteristic of traditional Chinese Painting philosophy, Joya’s paintings showcased ‘oneness’ with the nature through his newly-invented vocabulary using radically new forms to express a deep sense of meaning.

LANDSCAPE OF FREEDOM
Having to travelled to Europe, Asian, and the US, it was only during the Michigan period, where he was completing his post-graduate programme, that Joya no longer depicted his subject in its literal external appearance, but searched for and exposed the one within. Abstract Expressionism was creating waves in the US during this time, with a profound influence on many artists, and Joya was equally influenced and inspired. With his works, Joya exudes the intuitive sensibility of the inner subject. In the current lot, it is seen that the triangular-shaped grey area on the right side of the canvas acts as a focal point: a path that introduces depth to his work and at the same time leads us to discover the world of Joya’s very own mindscape. The introduction of a gestural black line at the end of the grey area expands our view to both ends of the canvas, unveiling the grandiosity of the composition. A lively burst of emotions is reflected through the layered plane of colours, which has been carefully combined within the canvas. It is interesting to find that with this painting, Joya dramatically juxtaposed two artistic qualities in this early work: the right side of the painting is comprised of subtle layers of amorphous forms carefully arranged one on top of another, drawing from the early exploration of his signature translucent shapes, while the left side of the composition unveils Joya’s strong desire to express himself with the introduction of spontaneous lines in white, yellow, black and venetian red. Not only that, but through these lines, Joya’s desire to challenge the existence of each entity by deforming the jewellike shapes set in the background of the painting is breaking boundaries. This is clearly palpable - a very bold and personal statement that a painter is attempting to express within his very own canvas. Simultaneously, through the introduction of texture to his work achieved by the application of paint with different tools, Joya evokes and elevates distinct emotional responses for the viewer in this intimate composition.

Untitled not only reveals the influence of Abstract Expressionism on the creator through its execution, but most importantly, it showcases Joya’s remarkable understanding of composition and colour. No matter how visually discordant the painting may seem, the final effect is a fully rounded tone. Joya encapsulates this compelling composition in this painting, and balances it with the harmonious setting of warm orange and brown tones that quickly reminds us of Mark Rothko’s 1950s works. These colours are also quintessential to the Philippines, symbolizing a land rich in culture, particularly resembling tropical nature, much like the iconic colour palette of Hernando Ruiz Ocampo’s. It is through his choice of colours that Jose Joya celebrates his roots as a Filipino while embracing a freedom and autonomy that he never attempted before.

Without a doubt, Untitled is an extremely rare piece of history that takes us back to the days where Joya was in search for his true craftsmanship. One of the earliest abstract works ever-created by Jose Joya during his formative years as an artist, Untitled is the purest embodiment of Joya’s extraordinary talent, while setting the milestone for his later creations throughout his artistic career.