In the course of many artists' careers, those who end up being great will have to eventually reconcile with the varying and often conflicting truths in their lives. Whether that career lasts until the twilight of their years or ends abruptly with the publication of a devastating critique, both the person and the artistic persona will find themselves looking at the mirror and asking: "was it worth it?"
To an emerging artist, that is something that may not have even crossed her mind yet. As in the case of Esther Carodan, a London-based Filipino painter with great big dreams, surviving in a competitive and quickly changing art world is top priority.
But so great are her dreams that she gave up a promising athletic career, leaving her homeland during the first few months of the pandemic in the process for something that promises nothing but days, months, years, even decades of uncertainty.
The call of the arts was strong and Carodan even stated that she wants to be a National Artist for Visual Arts. Quite the tall order for one who only has her large canvas artworks to show for. Her daring declaration will certainly raise a lot of eyebrows as well as the National Artist award is the highest form of recognition for Filipino artists and it remains elusive to this day for even some of the most accomplished and qualified personalities. Then there's the fact that there is no female National Artist for Visual Arts, so far.
Then again, who's to say what is or is not possible. There are artists whose body of work were not appreciated when they were active. They simply created and created each and every day regardless of whether recognition is received.
Thus, it would be irresponsible to gauge Carodan's current body of work as to what impact it will make in the tumultuous art ecosystem. The technique is there but she is clearly still finding her signature style. From photorealistic paintings to its current iteration, the jump is quite considerable.
It is worth nothing, however, that her themes speak strongly of her continuous discovery of Filipino culture may it be through identity, memory, or even her current situation as a young artist far from home.
This includes the Philippines colonial history under Spanish rule. In practically all her works, the traditional "Baro't Saya" is the choice of clothing for the women and the "Barong Tagalog" for men. But in "Fresas" (2022 acrylic and oil on canvas) and "Material Girl" (2022 acrylic and oil on canvas), Carodan shows the melding of past and future by giving the subjects sunglasses (to hide their eyes that reveal displeasure of wearing such clothing in tropical Philippines perhaps?)
Also a poet by the way, Carodan gives visual representation of her words in "Walang Katulad" (2020 oil on canvas) and "Glitch De La Kultura" (2020 oil on canvas). Again, the modern Filipina, regardless of skin tone, height, social standing, proudly stand front and centre wherever they may be.
"Pandanggo sa Ilaw" (2023 oil on canvas) is quite interesting in that the artist is able to let viewers feel, in monochromatic shades of orange, the vigor and excitement of the traditional Filipino dance. The placement of the subjects off-center encourages movement through imagination.
"Ale Elderly Woman: Soul of Time" (2024 oil on canvas) is a revelation of the artist's maturity not because of the subject matter but her recognition of equating wisdom with power. The elderly woman, painted as seemingly an emerald deity, sits with the dignity and the confidence of one who has seen it all. Much like a protagonist in an action movie, a cigarette hangs from her mouth as she plies her daily trade.
In perhaps a glimpse into her next artistic evolution, Carodan utilizes wood blocks in "Sampaguita" (2022 acrylic, oil, and wood on canvas). Doing so gives the work a three dimensional aspect but more importantly, since the images in the blocks seem to be misplaced in spacetime, it allows viewers to play with the possibility of multiple parallel realities existing right in front of their eyes.
Through these collection of works, one can easily surmise that Carodan's ability to tell stories visually is already there--with consistency, style can be polished.
It's quite interesting to see how a global audience will react not just to Carodan's works but the lofty goals she has set her heart towards accomplishing.
Difficult as it may be, her years in sports may have developed in her the discipline required to be great. And with a few good breaks here and there, Carodan might just end up becoming everything she aspires to be and make history for the Philippines. Time will tell. By Dexter R. Matilla
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