Words and Images Joshua Alexander Manalo
Artwork Tracie Anglo Dizon
In art appreciation, it’s easy to get entangled in biographical and historical narratives, losing sight of the immediate impact of the artwork. Nowhere is this truer than in the world of ceramics—a tradition that traces its roots back through millennia, from the ancient kilns of China and Persia to the masterpieces of Delft and Meissen.
Throughout history, ceramics have been both a medium for storytelling and a testament to human creativity, shaping complex trade networks. From the heartlands of China, where porcelain-making techniques are closely guarded, to the vibrant bazaars of Persia, ceramics found their way into the hands of discerning collectors worldwide. The allure of these exquisite creations eventually reached the hallowed halls of European royal courts, igniting a transformation from artisanal craftsmanship to a mass-produced industry.
Yet, amidst this evolution, we must remember that art is not born in isolation. Rather, it emerges as a testament to the prevailing tastes, ideologies, and collective consciousness of its era. Ceramics, with their diverse forms and functions, provide a tangible link to the cultural crossroads where art meets everyday life.
Enter “Plait #4” by Tracie Anglo Dizon—a canvas that cleverly emulates the charm of a blue and white “China” plate. However, what truly captivates us here is the audacious and whimsical brushwork, which defies convention and invites a fresh perspective. Dizon, a creative director in her past life, has made a mark on the arts scene with her continued exploration (and deconstruction) of long-established conventions on craft and artistry.
Dizon’s recent artistic endeavors, such as her captivating solo exhibit at Art Cube and the design of Tatler Philippines Dining Guide 2023’s front cover, daringly rejuvenate the blue and white “China” tradition. These themes, steeped in centuries-old traditions, often walk a fine line between monotony and timelessness. Yet, Dizon’s gift lies in her ability to straddle two realms: the “seeing” and the “believing.”
By “seeing,” we refer to the realm of perception, societal conventions, and visual innovation. Dizon’s works possess an undeniable visual allure, earning them the label of “eye candy.” On the other hand, “believing” delves into the unseen, the mysterious, and the interpretation of the universe.
In “Plait #4,” a childlike faith in the unseen comes to life, echoing the themes explored in the Nickelodeon animated series “Avatar: The Last Airbender.” Just as the characters Aang, Katara, and Sokka embark on a quest to restore balance to their world, Dizon’s art challenges the stereotype of spirituality being something tedious and heavy. It’s a reminder of the importance of suggestion, where conveying energy holds equal importance as precise depictions.
In the world of “Avatar: The Last Airbender,” the characters grapple with notions of destiny, balance, and the interconnectedness of all things. Similarly, Dizon’s work beckons us to contemplate these profound ideas within the context of art. “Plait #4” doesn’t just urge us to observe; it encourages us to partake in a timeless dialogue between creativity and culture.
Dizon’s art casts a spotlight on ordinary, everyday objects whose historical significance often goes unnoticed. This oversight isn’t due to apathy but is rather a result of humanity’s ever-evolving notions of beauty, prestige, and grandeur. Once, gold held magical powers; now, art has assumed the mantle of a luxury item, serving as a mirror to reflect upon history’s wisdom and the intersection of diverse cultures.
In this narrative, self-discipline emerges as the cornerstone of artistic expression, preventing the descent into mediocrity and ensuring the transformation of the mundane into the extraordinary.
Dizon’s artistic journey aligns with contemporaries like Manuel Ocampo and Gerardo Tan, who find stability through disruption. While knowledge of an artist’s background enriches our understanding, nothing compares to the direct experience of their work. Artists like Dizon, much like alchemists, transmute tradition and innovation into remarkable creations, fostering tolerance and open-mindedness as guiding principles.
As we contemplate “Plait #4” and the broader history of ceramics we find ourselves not merely observing art but participating in a timeless dialogue between creativity, culture, and the uncharted realms of the human imagination. •
Joshua Alexander “Joey” Manalo is a classically trained pianist having navigated through scores on his own from the age of six, eventually taking private lessons and graduating cum laude in 2009 at Rutgers University with a Minor in Music and a Major in Psychology. He was then taken under the wing of pianist Jovianney Emmanuel Cruz and had his orchestral debut in February 2011 in Insular Life Theater under the baton of conductor Marlon Daniel. Joey currently manages Outlooke Pointe Foundation’s projects and art collection. The non-profit organization was founded by his father, Jesulito Manalo in 2007 in a bid to support emerging artists and foster creative collaborations, “with the vision of utilizing art as a tool for nation-building.”
