To see an Allan Balisi painting is to encounter a moment. Or to be more precise, it’s to be arrested by that moment. The stark, singular image of his work, the deafening silence it evokes, feels like a memory you can’t run away from. A sense of longing comes to mind. It’s haunting yet eerily familiar.
The art critic Pristine de Leon once described his art as “stranded between states.” Balisi himself talked about the spaces he places between himself, his art, and the audience. “May three layers ‘yong paintings [ko],” he tells Rolling Stone Philippines. “‘Yong first layer, ito ‘yong para sa akin. Second layer, ‘yong gusto kong sabihin para sa viewer. Third layer, ‘yong interpretation ng viewer.” And it’s in that separation where we are caught trying to put it all together.
Balisi has been a draw in Manila’s art scene for over a decade. He was shortlisted for the Ateneo Art Awards twice (2009 and 2013) and a recipient of the Cultural Center of the Philippines’ Thirteen Artists Awards in 2021. Jay Amante, owner of Blanc Gallery, has worked with Balisi for about 15 years now. Dating back to Balisi’s first show in Blanc’s old space in Makati in September 2007. His work has grown across the years as Balisi continues to show in galleries all over Metro Manila. “The works kept on changing as the years went by,” Amante tells me over text. “Despite these changes, the power of Allan’s works is how the viewer felt while looking at these works. The magic that somehow these works were made for them.”
In his home in Quezon City, the outside noise fades away. The flora is lush with life. The sunlight and its warmth come through the windows. And there is Allan Balisi sitting peacefully with his two dogs and six cats. He tours us around his house, showing us some of the art that has made it home. On one wall is a framed comic book page by Filipino artist Hal Santiago. Across from it, a framed print of visual artist Maria Taniguchi’s signatures. “Libre ‘yan sa Art Fair one year.” In the next room, a sculpture by Yasmin Sison. As he holds it up close, he says that he got it from an art trade. He’s quick to explain that Sison doesn’t trade her paintings but the sculpture is just as impressive.
The studio right beside his home is a recent addition. It used to be a car workshop or talyer, but once it opened up, he converted it into his own artist’s studio. He says it helps him with his peace of mind, to separate where he lives and where he works. When we visited him a week ago, the studio was empty of work, save for a few blank canvases. Balisi says he’s currently on vacation mode. His next big show is far away from now. In the meantime, he’s content to sit and show us around.
We talk more about his art, growing up in Isabela alongside fellow artist Costantino Zicarelli, and how he grieved through the loss of his dog.
The following conversation has been edited for brevity and clarity.
Usually ‘yong unang tanong ko ay what’s keeping you busy these days, but clearly vacation mode ka na ngayon. So anong ‘yong feeling after a show?
Content and bored.
Do you think about the next show, or do you try not to think about it right after one show ends?
Yes, nag-iisip na ko [for the] next show. Pero hindi siya 100 percent na iniisip-isip ko. Pero meron na akong mga naka-planong next. Dahil medyo systematic ‘yong proseso, halimbawa, may mga nakalaan na’ng theme. Kailangan ko lang siyang planuhin nang mabuti.
With any show, does the venue affect kung ano ‘yong gusto mong mangyari?
Iba pagdating sa Blanc. Parang home gallery ko siya. Sobrang at home ako sa Blanc. Alam mo ‘yon? Less ‘yong kaba. Less pressure e ‘pag si Jay ‘yong katrabaho ko.
Kamusta sa ibang galleries?
Actually, ‘yong Silverlens lang talaga ‘yong medyo pinag-iisipan ko ‘yong mga sizes. Basta sabi ko, malaki ‘yong space nila, gagawa ako ng small paintings lang, in contrast sa space. Tapos naalala ko nag-show si Nona Garcia bago ako. At ‘yon, ang laking pressure for me. ‘Yong Nona show, sobrang massive ng show. ‘Yong paintings niya na sobrang laki. Magandang show talaga. Pressure na [ako] ‘yong next.
Binago mo ba ‘yong show mo?
Hindi ko siya binago. Nag-settle ako na parang okay lang naman gumawa ng show na tahimik. Tahimik naman lagi ‘yong mga shows ko.
‘Yon talaga ‘yong naisip ko rin about your work. Quiet siya pero medyo deafening ‘yong silence. May impact ‘yong pagka-quiet.
Oo, quiet siya pero parang may silent conversation siya.
Halimbawa, nakikinig ka ng music tapos minsan may iba kang naiisip. ‘Yon ‘yong inaano ko sa painting ko na parang may conversation siya sa viewer.
Actually ‘yong proseso ko nag-sa-start ako sa keyword. Hunting images. ‘Pag na-compile ko na ‘yong images, sorting na siya. So ano ‘yong best na mag-re-represent ng keyword.
So ‘yong sa last show mo, Kundiman (If it Were Not So), ano ‘yong keyword mo?
“Kundiman” ‘yong keyword ko. Ginamit ko na rin na title.
Can you talk about that more? Kasi noong binasa ko rin ‘yong artist statement, parang hindi lang ‘yong mga romantic themes ‘yong nirereference mo.
Unang dinig natin ‘pag kundiman, ito ‘yong kanta for a loved one. Or sa panunuyo. So hindi lang pala siyang ganon. Mas nakita ko siyang… universal. Pwedeng para sa sarili mo.
‘Yong nakuha ko from it, may theme na parang may sense of longing.
Oo, may longing.
Not necessarily love.
Devotion. May devotion.
I feel like kapag — and experience ko lang ‘to, when I see your work — hinihila ako to a certain moment, na parang mapapatigil ka talaga when I see your work. Especially the last 10 years, medyo naging iconic na nga ‘yong itsura ng work mo e. ‘Yong nakatalikod na black lang talaga ‘yong background.
Hindi ko naman ine-expect ‘yon. Pero parang… Ang goal ko lang lagi ‘pag sa work ay may gusto akong sabihin. Parang ganon. Pero once nailabas ko na ‘yong work, between the work and the viewer na lang siya. Wala na ako. So parang conversation na lang ng viewer at work ‘yon nangyayari. Wala na ‘yong sinasabi ko.
I’ll go back to a lot of that later. Sa Isabela, growing up, you mentioned na lumaki ka loving comics. Anong klaseng comics ‘yong nagustuhan mo growing up?
Mahilig ako sa Marvel and local comics noon. Kasi sa Isabela noon, may artist na collector siya ng comics. Old man na siya. Siya and nag-introduce sa akin kila Frank Miller at Neil Gaiman.
So ganong era ng comics? ‘80s, ‘90s? Noong nag-do-drawing ka noong bata, akala mo ba ganong era or style ‘yong magiging style mo?
Akala ko mapupunta ako sa comics industry. Pero since… aminado naman ako na… lagi kong sinasabi, limited ‘yong skills ko. Kahit sa painting, sa drawing, kung hanggang saan lang ‘yong kaya kong i-paint o i-draw, doon muna. I’m sure in the next few years, matututunan ko pa ‘yong iba.
So growing up, you mentioned rin kababata mo si Costantino Zicarelli, who’s also an accomplished artist in his own right.
Skilled talaga si Cos. ‘Yon ‘yong minsan wala ako. ‘Yong sa skill.
Talaga?
Oo. Alam ko ‘yong limitations ko sa paintings…
Why do you feel na kulang or limited ‘yong skills mo?
Hindi naman sa comparison sa ibang artist. Kasi meron akong mga images na gustong gawin. So wala ako nung courage na… Hindi ko pa siya kayang gawin sa ngayon. So hindi ko ma-figure out ‘yong image kung paano ko siya i-ta-translate into painting.
Halimbawa, may isang show sa Blanc na years before [To Our Friends, 2021], gusto ko mag-paint ng fountain. Pero hindi ko ma-figure out kung paano. So minsan, doon ako nagtatagal na “Kaya ko na bang i-paint ito?”
‘Yon na ba for you ‘yong hardest painting na ginawa mo?
Actually ‘yong fountain tsaka ‘yong landscape painting sa Blanc din. Ang liit nung mga images, pixelated ‘yong reference ko. So parang kailangan kong mag-improvise. Marami siyang trial na… hindi kasi ako makapag-translate ng painting from imagination to canvas. So, photo-based talaga ako. Antagal [kong] pag-aaralan ‘yong photo.
Fair ba sabihin na nostalgia is a key part sa ginagawa mo? Because I don’t feel that. You use old films and old references pero, tama ba na nostalgia ‘yong word? How would you describe your work?
Parang sabihin natin, ang ginagamit ko ay vintage photo, vintage cinema pero ‘yong theme ko, laging naka-focus sa present. Parang ganon. Siguro nasasabi lang nilang nostalgic because nakakita sila ng something old. Nostalgic siya pero, ‘yon nga, lagi namang theme ko ay mag-focus ako lagi sa present. Kumbaga, ito ‘yong present na mga experience ko. Fascinated lang ako sa old images. Actually gumagamit rin ako ng mga bago, pero nagmumukha pa rin silang old. Kahit mga photos ko.
Part ng translation ‘yan, I guess.
Oo. Dahil automatic na ‘yong translation niya.
Over the years, paano mo makukwento ‘yong journey mo as an artist?
Iba pa ‘yong gawa ko noon. Gumagamit ako ng charcoal. Minimix ko sa oil. So, medyo parang illustration ‘yon dati. Madaming outline. Puro building yata ‘yong images ko. Mga rooftop, building, windows, mga ganon. So, eventually, nag-evolve. Kaya sabi ko limited ‘yong skills ko noon. Dahil, feeling ko noon, hindi ko pa kaya gumawa ng tao.
Pero gusto ko na gumawa ng figurative painting noon. ‘Yong next show ko sa Blanc, nag-try na ako gumawa ng mga tao. Pero ganun pa rin. Hindi pa rin ‘yong photo realization. Pa-unti-unti nag-aaral magpinta since, nasanay ako sa comics.
Bakit hindi mo nai-pursue ‘yong comic aesthetic art?
Dahil hindi ko kaya. Para sa akin, isang pinakamahirap na form sa art ay comics. Dahil kailangan mong mag-compose ng panel. Kailangan mong gumawa ng stories. At ilang pages siya. Compared sa painting ng one whole image. Kaya minsan kapag tumitingin ako ng comics, ‘yong isang panel, [iniisip ko] “Isang work na ‘to a.”
Sino favorite comic book artist mo?
Sa local, si Hal Santiago. Sa Japanese, si Yoshiharu Tsuge at si Yoshihiro Tatsumi. Tapos, sa mga alternative, Peter Bagge, Daniel Clowes, Charles Burns. Favorite ko si Steve Ditko. Sa storytelling niya, saka sa drawing.
Nakikita ko ‘yong love of comics mo sa zines mo. ‘Yong art mo na-ta-translate mo in a way to comics or ‘yong closest approximation ng comics.
Sa zine ko siya nilalabas. ‘Di nawawala ‘yong storytelling. Laging may connection sa viewer. Hindi siya nawawala. Hindi ko alam kung paano ko nagagawa, pero may attempt na kahit isang tao mag-ko-connect ito, itong work na to.
Noon kwinento mo ‘yong pinakamadugong process for you, ‘yong paghahanap ng photos. So, I guess, in a way, hinahanap mo rin ‘yong connection?
Kailangan connected din ako doon sa photo. Halimbawa, may ginawa akong theme, kailangan ko ng something galit at gentle. Mag-iisip ako anong image ang mga pwede doon. Minsan lilitaw na lang siya.
Gaano karami ‘yong nahahanap mo? Tapos how much do you cut down?
I mean, hundreds. [Tapos] i-ti-trim down ko ‘to to five images, eight images.
How do you decide how to cut your selection down?
May three layers ‘yong paintings [ko]. ‘Yong first layer, ito ‘yong para sa akin. Second layer, ‘yong gusto kong sabihin para sa viewer. Third layer, ‘yong interpretation ng viewer. Wala na ako control doon sa third layer, ung sasabihin nilang nostalgic, o ano. ‘Yong second ‘yong artistic statement ko.
First ay ‘yong personal. ‘Yong second and third minsan, sumasakto sila. Minsan, may mga taong umaabot sa first layer. Halimbawa, si Jay, parang sabi niya, “Alam ko ‘yong gusto mong sabihin.” Kasi siguro dahil kabisado na niya ‘yong work.
Since you talked about music earlier, I’d like to ask you about Siesta Beats Records. Matagal mo na ‘tong pinag-isipan?
Oo. Matagal na. Kasi may mga gusto akong band. Sobrang hilig ko din talaga sa music. May gustung-gusto akong label sa Europe, ‘yong Sarah Records. So nag-release lang sila ng mga indie bands din nila. Naisip ko lang gumawa ng parang ganon dito.
Do you consider it outside of your artistic career? Or extension siya?
Hindi siya extension e. Parang mas passion project siya.
Ano ‘yong nakukuha mo out of doing Siesta Beats?
Parang… kuntento lang ako. Tapos alam ko naman hindi ako kikita dito. Nai-compute ko nga noon e. ‘Pag nabenta ko lahat, kikita ako ng P200. [Laughs] So medyo napagastos ako. Pero alam mo ‘yon, masaya ka. Hawak mo siya. I-di-distribute mo siya. Tapos natutulungan mo ‘yong gusto mong banda para ma-expose sila.
How do you feel na ang tagal mo nang pinaplano, tapos ngayon, malapit na siyang lumabas.
Sobrang saya. Sobrang saya.
Sa closing ng Kundiman, nag-DJ ka rin. Kailan ka nag-start, if I may ask?
2018. Wala talaga akong plano. Nakatambay kami noon sa Limbo sa Poblacion. Magkausap kami ni Caliph8 [sound and visual artist], sabi niya, “Tugtog tayo.” Parang usapan lasing siya, so nag-oo na lang ako. So after a week nilagay niya sa poster ‘yong pangalan ko. Iba pa ‘yong pangalan ko noon e.
Hindi pa Other Confinement?
‘Yong pangalan ni Silver Surfer. ‘Yong real name niya.
Norrin Radd?
Oo. Sobrang kulit. Sa comics pa rin talaga.
Nabangit mo na nahirapan ka talaga mag-paint ng fountain dati. Mayroon ka bang bagong gustong i-drawing or i-paint?
Meron. Alam mo ‘yong mga floating parade, ‘yong mga floats? Baka ito ‘yong mga gagawin ko sa next show ko. Kung feeling ko kaya ko na. May nahanap akong mga old photos ng mga float parades. Kailangan ko pang maghanap siguro ng iba pa. As in magkakalkal sa mga gift shop.
Rare ba na you use personal photos?
Mas organic kasi ‘pag galing sa iba.
Pero what attracted you na you’ll use ‘yong old photo ng house niyo? Parang first time ba na you used a personal photo, ‘yong place niyo sa province, for Dog Years?
Kasi ‘yon lang ‘yong nag-e-exist na photo niya. So ‘pag i-pi-picture ko siya ngayon, iba na ‘yong itsura. So doon talaga wala akong choice kundi gamitin ‘yong nag-iisang photo na ‘yon.
Mayroon ka bang show na you felt like it was your most personal show?
‘Yong Dog Years na.
I can see that. Kasi noong nabasa ko ‘yong artist’s statement, nakakaiyak siya.
Oo. Kasi ang tagal ko kasing nag-grieve doon sa aso ko. Parang years na siya so parang sabi ko, “Kailangan ko na siyang i-let go.” So medyo confessional ‘yong show. ‘Di naman masama kung ilalabas kong confessional ‘yong show, alam mo ‘yon? Kailangan lang matapos ‘yong grieving ko, kailangan ko ng tribute para sa kanya. Parang ganon. Kasi parang ‘di na normal na three years na ako nag-grieve sa kanya. So tuloy ngayon, ‘pag nag-pe-paint ako ng flowers, para sa kanya ‘yon, kay Destro. Parang inaalala ko siya.
