By Arnaldo Mirasol

Excerpt from the exhibition note I wrote for my 2007 solo exhibit at the Crucible Gallery:

“…this illustration is not another leftist ranting in pictorial form. I used the term imperialist in its generic sense, that is to describe all the empire builders of history. Thus, the nations alluded to ought to be flattered because this illustration merely advances the thesis that the imperialists were the founders of civilizations.”

The figure hopping atop the columns is Prometheus, the bringer of fire to mankind. The fire symbolizes technology and know-how. The columns — Moorish, Byzantine, Roman, Greek, Etruscan, Egyptian, etc. — represent the various civilizations that flourished in the course of human history.

By Arnaldo Mirasol

This illustration is just a reconstruction of sorts. I never saw how the old Rex Bookstore on Azcarraga (now Recto Avenue) looked like, nor was I given a photo of it as reference. What was provided me was just an old photo of the owners, Mr. and Mrs. Rey Fontelera, who are shown here manning the counter. I just used my imagination and lots of research to come up with that scene. But the glass showcase and cash register are authentic. Rex still has them in their main office in Quezon City where I made sketches of them. The books stacked on the table at the lower right hand corner are vintage school books which I have in my collection. The children are supposed to be students of my alma mater, Holy Child Catholic $chool in Tondo, as can be guessed by my schoolmates from their uniforms.

By Arnaldo Mirasol

Artist statement for my piece for “MUKHA: Portraits of Histories and Stories” exhibit at the De la Salle University (May 24-August 24, 2018)

This painting is a self-portrait —though not obviously so, because of the diving mask covering my face. If you look closely you’ll discern that the eyes, eyebrows, and moustache of the diver are my eyes, eyebrows, and moustache. Also, the attire and diving gear were what I used to wear then. But even though this work is a self-portrait, the scene is just imaginary. I am just role-playing here. The painting is a portrayal of my fascination with the sea and my admiration for and awe of spear-fishermen who I considered before as sportsmen par excellence. 

But why “Lord of the Reef”? The title is also a question. Who really rule the deep? Its fiercer denizens like the barracudas or sharks—or the intruding humans, whose greed and wanton fishing methods could only lead to the depletion of marine resources?

The persona I assumed in this painting is anti-heroic, so to speak. I said that I considered spear-fishermen as sportsmen par excellence. That was before. But no longer. I now see those who are into spear and deep-sea fishing for sports as no better than those who hunt for trophies in Africa. If they must kill fish, they should do it out of necessity—not for fun, not for thrills, and certainly not to earn bragging rights as champion sea hunters.

— May 5, 2018

By Arnaldo Mirasol

An excerpt from “Old-Fashioned Fairy Tale Art” – an article I wrote which is also the title and a recounting of my first solo show at the Crucible Gallery in September 2001:

“…Many consider my illustration for the story The Little Mermaid (above) as the best of the fairy tale illustrations I did for the book ONCE UPON A TIME. Perhaps, Tahanan Books publisher Reni Roxas was one of them, as shown by her choice of this illustration as cover art for the book (below). 

I’m a bit baffled though, because if she found The Little Mermaid that good, why did she not bought it, and instead acquired for her collection my illustrations for the stories, The Wild Swans and The Farmer and His Wife. (Below)

Apart of course from the meticulous intricacy of my brushwork in The Little Mermaid, what amazed the admirers of this illustration is the composition. They were astounded by my supposed ingenuity in coming up with that circling fishes motif in the background. To this I say, be astounded no more, because the idea for that background wasn’t original – I just copied it. I was “inspired” by David Doubilet’s photo which appeared in the National Geographic Magazine, of a circling school of barracudas, at the eye or center of which is a hovering scuba diver.” (Below)

By Arnaldo Mirasol

I love tamales. It was my mother who introduced it to me. I remember that I didn’t like it the first time I tasted it. But the next time she brought home another tamales, I had acquired a liking for it. My mother bought the tamales from a vendor selling them beside the Sto. Niño church in Tondo. They are still being sold there to this day. My wife Carina knows my craving for tamales, that’s why she makes it a point to buy me those whenever she has the chance.

Imagine my excitement therefore when publisher Reni Roxas of Tahanan Books broke to me the news that they chose me to illustrate Didith Tan-Rodrigo’s book “Tamales Day”. The job entailed not only actually doing the illustrations, but also visiting Didith’s house to take pictures of her family while making tamales – and of course, tasting it and taking home a few pieces more.

Here is an excerpt from the essay I wrote for Tahanan Books’ “The House Tahanan Built” – a compilation of memoirs and conversations about the creative process written by the authors, artists, staff, and friends of Tahanan Books.

“…I next did for Tahanan the illustrations for Didith Tan-Rodrigo ‘s story “Tamales Day”. Now, the process of creating art for this book was a very delectable one, I must say, because I was invited by Didith to their home to observe and take pictures of them while making tamales. 

“Their tamales is not like the Mexican tamales – far from it. Nor is it the ordinary Kapampangan tamales. Their recipe is their own high-end version, which I once described in a Facebook write-up as gourmet tamales. “Why gourmet?”, you’d ask. Well, that’s because their recipe includes as ingredients – aside from the usual strips of chicken, peanuts, and salted eggs – ham, chestnuts, and shrimps.

“Didith told me that someone suggested once that they make a business of their recipe and offer franchises. They considered that suggestion but didn’t act on it. They somehow felt that the business won’t be feasible because pricing their product would be tricky – precisely because of the high cost of the ingredients. That’s why I felt lucky then, and special, because I get to taste the tamales that had been denied many others.”

Didith, by the way, is a daughter of Ambassador Bienvenido Tan, the founder of Bookmark. And Tamales Day is a day in December when the Tan family gathers to cook tamales, using an heirloom recipe handed down by Didith’s Kapampangan grandmother.

Thanks for joining me!

Good company in a journey makes the way seem shorter. — Izaak Walton