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Mixed- Media Master Imelda Cajipe Endaya Celebrates Phil

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Joined: 06 Jul 2005
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Location: Angel C. de Dios

PostPosted: Tue Jun 12, 2007 3:09 pm    Post subject: Mixed- Media Master Imelda Cajipe Endaya Celebrates Phil Reply with quote

Mixed- Media Master Imelda Cajipe Endaya Celebrates Philippine Culture

Necessity made Imelda Cajipe Endaya the mixed-media icon of Philippine art. “The expensiveness of materials lead artists to a lot of improvisations.” she says. “That’s how l became good at mixing media.”
She belongs to a family of achievers. Her father, Pedro Cajipe, was a medical doctor and her mother, Felipa Bais was a pharmacist-bio chemistry teacher. Her maternal grandfather, Francisco Baisas, an entomologist, made a major contribution to malaria control in the Philippines.

Both Baisas and Cajipes are from Paete, Laguna.” Imelda explains. “Artistic genes are there even among the scientists in the family—they also draw, write and play music. My sister Gloria (Cajipe), who is a bio chemist, avidly promotes classic opera. My mother made papier-mache he was a kid.”

Imelda went for grade school and high school at the College of Holy Spirit in Manila. “I was always the classroom artist,” she remembers. “Everything grew naturally. Even in high school, I was firm about becoming an artist.” A fine-arts graduate of the University of the Philippines, she was greatly influenced by her professors, like Alfredo Rebilion (composition), Constancio Bernardo (advanced painting) and Rod Paras Perez (graduate studies).

Other artists inspired and helped her. She says, “Bencab influenced my early phase as a printmaker. It was Ofelia Gelvezon Tequi who directly encouraged me to go into printmaking. She was very generous in teaching techniques and ‘trade secrets.”'

“My good friend Brenda Fajardo influenced the outreach part of my career as an artist and educator. She helped broaden the social process yond the otherwise isolated studio. With her arid three other friends, we formed the KASIBULAN, a women artists’ collective.”

Imelda enjoys experimenting and simultaneously using Philippine traditions. “ I use women-oriented materials and Philippine images.” she says. I’m partial to strong color contrasts and texture. I love to mix materials and techniques—printmaking processes into painting and vice versa. I can use three to ten techniques and media in one work. I like putting elements of Filipino and kitsch.”

She married Sim Endaya, and they have three grown children: Indira, Trinka and Marco. Her family comes first. “No matter how passionate I am about art, it only comes second.” she says. In 2005, she and her husband moved to New York’s Hudson Valley to keep her mother company.

Imelda finds the art environment in the U. S. to be basically commercial, especially in New York. “Art making here is so self- focused and individually oriented, - she says.” There’s an abundance of conveniences here—professionally prepared materials and equipment at one fingertips. There are so many opportunities for creating. Perfecting techniques, reproducing, promoting and marketing one’s work.” However, she is busy and fully booked with exhibitions because of the support of Filipinos in New York and New Jersey. “Who says Filipinos are crabby I’m so touched and overwhelmed by the support and encouragement of my compatriots.”

Franklin Bobadilla, a bibliographer in The Hague, the Netherlands has been a Cajipe Endaya fan and collector foe years. “She’s always searching for the Filipino identity,” he explains. “The way she assembles things is just fabulous!” This is apparent in “Whose House” (2006) in which suggestions of Stars and Stripes are blended with objects that can be found in a Filipino household: a family picture, ornately carved coffee table showcasing the Philippine dance tinikling, the Philippine board game sungka, and the pot-bellied Chinese Buddha, which is kept for good luck.

“I easily see myself as a Filipina in a lot of her artworks.” says Rissa Bañuelos Subagyo, a school administrator in Jakarta. Indonesia. Gender identity is a running theme in Cajipe Endaya’s artworks. In But She’s Not White” (2006), Western materialism is evident in the display cabinet for chinaware, wintry landscape seen through a window, fringed scarf and the U. S. (lag. The only clues that it is a Filipino household are the pictures of two Filipinas Oft (he wall and the small Philippine (lag positioned diagonally front them.

Imelda is into the rhythm of Philippine pop culture. In “Santa Kontrabida” (Saint Baddie; 2006), she pays homage to the alpha villain of Philippine cinema. Carol Varga, with a seemingly disjointed body. Varga’s red horns, gloves and boots contrast with the haloed arid kneeling female saint in the background. Manny Canteras, an investment consultant in San Francisco, exclaims, laughing, “This is a hood”

Imelda Cajipe Endaya is steadfast in her vision to help promote and enhance Philippine culture. ‘My dream is that more successful Filipino artists who have gone mainstream and world- class, get to integrate the Philippine culture into the content of their an.” she says. “Mainstream and world-class need not mean non-Filipino. They can lead in projecting Philippine culture as strong. positive influence in world culture.”

Imelda Cajipe Endaya’s website:
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