Words and interview Judith Torres
Images Ivan Co
Ivan Co identifies as a paracosmic artist. “Paracosmic” combines “para,” meaning beyond, and “cosmic,” or the universe. A paracosmic artist creates worlds beyond our reality, into realms of imagination and alternate existences.
He says the term could also be related to the psychological construct of “paracosm,” a detailed imaginary universe that signifies a profound mental and creative faculty. The term is often used in the context of child development and is associated with cognitive and creative exercise. An artist who draws from or depicts such internal universes might be termed a “paracosmic artist.”
Co’s latest work, The Labyrinthian, represents his personal evolution and the depth of his imaginative world. The piece testifies to Co’s craftsmanship, merging metallurgy and jewelry-making with a spiritual zeal that invites viewers to navigate their journey through life and the cosmos.
The artist’s personal journey
During the COVID-19 pandemic, conceptualizing The Labyrinthian was a source of solace. Amidst his kinetic pendulum projects, Co envisioned a transformative piece that would redefine his artistry.
“But of course, life doesn’t always happen the way we imagine,” says Co. “I reached a plateau, faced with the daunting challenge of creating a piece like none before.”
He nearly quit four times, stymied by the project’s complexity. But he persisted through the creative standstill, discovering that mental and physical training was essential to surmount artistic hurdles. This dedication brought The Labyrinthian to life after more than 8,000 hours of deliberation and craftsmanship—a paracosmic sculpture embodying a central belief that courses through Ivan Co’s veins into his creations:
Similar to a river’s inexorable journey to the sea, we, too, navigate various paths in life, ultimately finding that we are both the drop and the ocean—simultaneously human and divine.
The journey begins
Co’s venture into art started with jewelry, continuing a family legacy. He was immersed in the operations of his father’s business, Hoseki Jewelry Art, where he practiced the interplay of physics and engineering.
“More often than not, when designers submit their sketches, they’re usually flat illustrations,” Co explains. “I produced the 3D aspects and translated them into the proper crafting of each piece.”
In these formative years, he learned to breathe life into 2D drawings, transforming them into tangible art. His talent was soon recognized beyond the family business. In 2007, he was recognized by the South Sea Pearl Consortium, earning him a full scholarship at GIA (Gemology Institute of America) Hong Kong and confirming his design potential.
Rift and resilience
Yet, personal challenges led to a painful estrangement from his family. “I became estranged from my father due to conflicts in our beliefs, which set me on a path totally estranged from my whole family and left me without a home,” he shares, reflecting on the adversities that steered his way.
In the ensuing tumult, Co’s resilience shone. He established Ornamento Jewelry, embracing his identity as a designer, crafting pieces with gold-plated silver, brass, and gems.
A fateful encounter with a spiritual mentor led to a profound personal transformation. Co recounts: “I met a highly spiritual and successful businessman who spent his sabbatical in Tibet. He returned and was somehow destined to share his discipline with me.”
This mentor, who had endured similar familial strife, introduced Co to the practices of self-reflection and meditation within the sanctuary of a modern temple in Pasig City. “Monks passing through could use the place for free lodging. He said I could stay there while I was homeless. It was his way of paying the universe forward.”
Co stayed a year.
“I underwent ‘self-reconciliation,'” Co explains. “It was unexpectedly amazing! Essentially, it enabled me to flip a switch in my mind and turn my negative experiences into a positive narrative about a journey towards reaching my full potential.”
Co’s artistic vision took shape while in a state of meditation, leading to his first pendulum sculpture in 2018—a symbol of the serenity he pursued amidst life’s chaos. This journey shaped the artist who would create The Labyrinthian, a sculpture that marks Ivan Co’s evolution from jeweler to paracosmic sculptor.
The mechanism
The Labyrinthian is a dance of motion and sound, initiated by the release of obsidian, setting two glass spheres on a journey through a labyrinth of melodies and movement, culminating in a symphony of fifty spheres. Its form—a harmonious blend of brass, golden healer quartz, sunstone, obsidian, glass, black onyx, and pearl—spans 122 by 77 by 77 centimeters of captivating wonder.
The piece, with its intricate golden maze, delicate sounds, and graceful orbits, demonstrates Co’s undeniable mastery of form and motion, where engineering meets the fluidity of art. It is a tangible expression of Co’s “river philosophy.” Taoist wisdom flows through each aspect of the sculpture, like life’s myriad rivers merging into one vast ocean.
This riverine philosophy is also the guiding force behind Co’s personal evolution.
From Co to Cosmoses
Co says he is a new person and is still evolving. His soul name is “Cosmoses.” The name encapsulates the exploratory spirit of the cosmos and his aspiration to servant leadership like Moses. His mission? To enlighten, innovate, immerse audiences, and encourage an awakened existence.
Conversation with Ivan Co
What sparked your vision to elevate Philippine art internationally?
Ivan Co: Philippine art has immense potential on the global stage. But, the sameness at local art fairs reveals an innovation gap. This spurs me to ignite an artistic movement to uplift the caliber of art our country can showcase.
You said you almost quit four times. What kept you going?
Ivan Co: Excitement about a new concept can quickly turn into doubt and fear, and it peaked when I realized halfway through the project that things weren’t working.
Gratitude was my anchor. With the right tools and skills, I reminded myself completion was a matter of patience and time. Surrendering my efforts to God, faith set my hands in motion once more.
How do physical training and meditation work with the intellectual aspects of your art?
Ivan Co: Aside from the physicality of cutting, filing, hammering, soldering, and bending, what proved incredibly empowering was the spirituality behind those acts. At first, when my efforts in training the mind hit a plateau, I was lost and clueless about what to do next. Since I wake up at 5 AM every day to meditate, I used the quiet time for strength training at the gym.
Ninety days of simultaneously training spiritually, mentally, and physically boosted my confidence in ways I’d never experienced before. No wonder monks do such training every day! After a few more thousand hours, I finished The Labyrinthian.
What influence did pandemic isolation have on your creativity?
Ivan Co: Isolation is a crucible for genius. Sir Isaac Newton and William Shakespeare used the quiet to cut through life’s distractions and generate ingenious ideas. So why not me, right? I dug deep into myself, figured out what distractions took much of my time, and removed them. Getting rid of distractions was the greatest gift of that long isolation. I set aside TV, social gatherings, toxic environments, divisive politics, etc. This put me in touch with the purest form of my creativity. As a result, I never stopped working during the lockdowns. Inspiration never ceased; I was energized.
Is there a hidden detail in The Labyrinthian of personal significance you’d like to share?
Ivan Co: My “river philosophy,” rooted in Taoism, is woven into The Labyrinthian. Allow me to explain: Like a river that begins with a single drop of precipitate atop a mountain, each of us is on a quest to reach the ocean of our fullest potential. On this journey, we navigate challenges, diverse in form and magnitude. Rivers, upon converging, don’t diminish; they amplify each other’s strength. There may be trepidation about losing one’s individuality in the ocean’s vastness, yet we find liberation in this union—becoming part of something limitless and free.
I finetune my awareness to recognize kinship with kindred spirits. It’s an honor to encounter such souls. This guiding principle of interconnectedness and growth permeates every facet of The Labyrinthian.
Tell me about the metal aurichalcum, which your press release says you forge yourself! What are its origins?
Ivan Co: In my meditations, I sometimes get visions from what I believe are ancient influences. Things I’ve done in a previous life, perhaps? I name many of my works in Latin because of this perceived connection.
During my quest to create something truly unique, I came across this mythical metal called “aurichalcum,” mentioned in ancient writings, one of them Plato. In his book Critias, he recounts the testimony of his great-grandfather of five generations, Solon, who claimed to have visited the legendary city of Atlantis and its Temple of Poseidon. In the book, Plato records Solon’s descriptions of the temple’s interior walls, floors, and pillars made with a noble metal called aurichalcum.
What is it made of?
Ivan Co: To this day, people have yet to learn precisely how aurichalcum is made, but I reimagined my own version based on my studies. My reimagined aurichalcum is a mix of gold, silver, copper, zinc, and nickel alloys.
What desirable qualities make it a superior alternative to other metals?
Ivan Co: I wouldn’t say it is a superior alternative to other metals, but I am delighted with its uniqueness.
To clarify, I use reimagined aurichalcum in most of my works, but for The Labyrinthian, I used polished brass due to the alloy’s malleability required for the structure’s twists and bends.
Who were you before and after creating The Labyrinthian?
Ivan Co: The quick answer is I needed to become a totally different person. We all have an idea of the highest version of ourselves, right? Those stereotypical notions of working out daily, eating right, more time for family, pursuing one’s dreams, fulfilling resolutions, etc. Yet, seldom do we strive to realize the ideal.
So, basically, I attempted to actually GO for it. I am not there yet, but I am on my way. This journey birthed my soul name, “Cosmoses,” a blend of ‘cosmos,’ symbolizing the universe, and ‘Moses,’ signifying leadership. The name reflects the evolution necessary to pursue the excellence I seek in art and life.
What do you hope viewers feel when experiencing The Labyrinthian?
Ivan Co: The same wonder I felt as a child at science museums, sparking curiosity, amazement, and a desire to explore and experiment.
How does your work bridge traditional Philippine art and global contemporary aesthetics?
Ivan Co: Art should not be made just to be collected; it should serve a higher purpose. I am a third-generation jeweler, so Filipino craftsmanship is a priority. I don’t use computer animation in my creations. Everything is done by hand and built from scratch. I am traditional in my creative process.
As to Philippine art, much of what we see is for local audiences; they aren’t nearly as attractive in the international scene. This is why I strive for art that is unfamiliar and unexpected but, at the same time, shows my Filipino skillset and heritage.
Has The Labyrinthian set a new standard or direction for upcoming creations? How so?
Ivan Co: Absolutely. Some maestros make lesser artworks as they gain tenure and experience. They already have the name; all they have to do is stay on course. I have nothing against this. But I want to continuously better myself as an artist and as a student of life. I will always strive for excellence.
Ah. You have to live up to your soul name. So what’s next, Cosmoses?
Ivan Co: I’m committed to my mission and embrace the entire journey—the slopes and the peaks. About my next endeavor, you’ll have to wait and see!
The riverine odyssey continues
In the quiet of a world paused, The Labyrinthian was Ivan Co’s sanctuary, each curve and coil a meditative step towards introspection. Spirals rise and intertwine like thoughts seeking clarity amidst uncertainty.
The world has resumed its rhythm, and Co’s artistry is creating ripples across international waters. His significant exhibitions, from solo exhibit Aurichalcum & Platinum in the Philippines to Big Boys’ Toys in Las Vegas and the Platinum Jubilee book launch last year at Grosvenor House in London, showcase Co’s ability to infuse traditional Filipino craftsmanship with a global contemporary flair.
The inclusion of Ivan Co as the only Filipino artist in Strive for Perfection: The Official Platinum Jubilee Edition by the International Club for Rolls-Royce and Bentley Enthusiasts positions Co among the art world’s elite in a book commemorating Queen Elizabeth II’s historic reign.
This honor resonates with the very philosophy that flows through The Labyrinthian—a belief in our humanity and divinity, the power of individuality and convergence, being both drop and the ocean, and the freedom found in unity. •
Author’s note: Ivan Co’s productivity and the evident success of his artistic endeavors demonstrate that he has found the right rhythm between following the organic flow of creative development and deliberately crafting his career and creations. I thoroughly enjoyed interviewing him, surprised by his openness, which caused me to share a private angst of mine in a spontaneous moment of rapport. This took place around five in the morning, as I was about to call it a day, and he was just starting his.
The man has a deep understanding of the organic process of life and his own journey, revealing a profound commitment to living authentically through his art. I can’t wait for the wonders he will unveil ten, twenty years from now, as he navigates the paracosm of his making.
To experience the kinetic beauty of Ivan Co’s sculptures and delve into his paracosmic vision, a visit to his sculpture website is highly recommended.
