Bridging the Gap: Pagitan by MADE 2023 Special Citation Awardee Jonas Arlegui

S P E C I A L   C I T A T I O N   A W A R D E E                                   
Oil/Acrylic on Canvas Category

Jonas Miguel Arlegui
Pagitan (In-between)

In “Pagitan”, Jonas Miguel Arlegui highlights the contrast between earthly objects and beings. The landscape is characterized by monotony and incongruous shapes, with a landfill on one end and a large number of people on the other end. Despite their close proximity, the individuals seem alienated from each other. The painting is dominated by shades of grey with communication lines obstructing the view. Arlegui incorporates religious allegory in his work by including a telephone pole with an image of the cross. The lines meeting and intersecting on the pole symbolize the connections we make during our time on Earth. Through his artwork, Arlegui reminds us of the importance of these connections to prevent us from feeling isolated and despairing. Text by Janine Bernardo of Metrobank Foundation

Hello, Jonas! “Pagitan” vividly portrays the divisions between people, objects, and faith. Could you delve deeper into the symbolism behind the tilted landscape and the alienation of individuals in your artwork?

Jonas Arlegui: The additional meaning of my piece “Pagitan” delves into the existence of life and the questioning of our purpose in the world. Metaphorically, I describe my work as a word-matching test. In my study, I’ve listed words on the left, right, and at the center, connecting them to explore differences and similarities. This process relates to the MADE 2023 theme “Connect” and forms the basis of the form and composition of my work. The symbolism behind the tilted landscape and people reflects my belief in a higher being, God, who will eventually turn the situation upside down at the right time or moment. This belief underscores the importance of valuing success and stability while remaining humble. In times of low points, maintaining faith and hope in God is crucial, guiding us on the paths we want to take, with the understanding that our time and turn will come.

The presence of a cross on the telephone pole in your painting suggests a strong religious allegory. How do you see the role of faith and spirituality in bridging the gaps and connections you depict in your work?

Jonas Arlegui: In my personal experiences, the struggles and trials I’ve overcome with my family are profound. They are of the kind where you find yourself at the lowest point, and all hope seems lost, but suddenly a blessing arrives, restoring faith in God as the provider of everything. Surrendering everything to Him became my mantra. Quite honestly, I told myself that if nothing came out of my career as an artist, I would shift paths and prioritize my family’s needs, perhaps by working abroad.

Then, out of the blue, an email about MADE arrived, declaring me a Special Citation awardee for this year’s competition. This strengthened my faith in the Lord, highlighting that His plan is ultimately superior to what we believe is right for us. It appears that He still wishes me to pursue being an artist and to continue glorifying Him through my art. This is why I chose to use the symbolism of the telephone pole as a cross, as it represents the point from which all lines and cables emanate, evocative of the energy and light our faith brings into our lives, with the symbol of the cross giving us hope.

Your artwork speaks to the challenges of maintaining connections in a modern world marked by isolation. How have your personal journey and experiences influenced your exploration of these themes in your art?

Jonas Arlegui: My personal experience interacting with people and the world at large is chaotic, as I imagine is the case for most of us. It’s a situation where confusion reigns on both sides. In this chaotic “Pagitan” (In-between), there are no exemptions for all people. We are all ripe to be tested mentally, physically, emotionally, and spiritually. We are tested on how strongly we cling to our faiths and beliefs, and how much trust we place in ourselves in surmounting odds. We are both alone and together at the same time. There are moments when you will need help to surmount the odds, but in the end, you triumph based on your choices and hard work.

You’ve mentioned being inspired by artists like Rembrandt, Norman Rockwell, Botong Francisco, and Denis Sarazhin. How have their works influenced your artistic style and the themes you choose to explore in your art?

Jonas Arlegui: Rembrandt and Denis Sarazhin inspire my observational skills. Anatomically, Norman Rockwell is my guide; Botong Francisco influences the lens by which I view and depict my paintings, reflecting social realities, cultures, and traditions that I have personally encountered. I often use a limited palette and monochromes for my work, largely inspired by Pablo Picasso’s “The Old Guitarist” during his Blue Era. I wanted to show that my output and imagination are not limited by the tools readily available to me as an artist.

Regarding the choice of acrylic for my MADE 2023 entry, it was practical at the time when I didn’t have a studio, and I had a month-old daughter who might be sensitive to the odor of oil paint, which I usually use. This reflects the adjustments an artist needs to make based on their context and the time they are in. Overcoming challenges and creating quality work with limited resources becomes even more worthwhile.

Your artwork often focuses on everyday life and genre painting. Could you elaborate on the aspects of everyday life that inspire you the most, and how do you approach capturing these moments in your art to convey deeper meanings?

Jonas Arlegui: For me, genre painting is like storytelling that is deeply personal. It’s solely and truly you, something that can’t be invented. This inspires me the most because these are the aspects of my life that others often don’t see or are glossed over. For example, some of my early works focus on the issue of traffic in the Philippines. At that time, working as a graphic designer involved long hours of travel for meager pay. My superiors didn’t witness the hardships I encountered daily, such as being crammed like sardines inside public transportation modes as well as the endless queues one had to endure. This reality significantly affects and reflects in our canvases as artists. Like how the present pandemic tested our faiths and limits, or how when I reached a point in my design career where I was weary from all the drudgery and just wanted to create art.

It matters what happens to us today and yesterday, as these experiences may just be the fuel we need to help drive and move us forward tomorrow.

mbfoundation.org.ph.