Reimagining the past
And how it impacts the present, according to Robert Besana
And how it impacts the present, according to Robert Besana
“Create art that is honest and sincere,” said
Robert Besana. “Discuss in your work what you believe is true while listening and observing your surroundings.” The brevity with which he describes his philosophy is complemented by his uncanny ability to sustain a deliberate and consistent spontaneous spark during his creative process, akin to religious fervor, as one of art’s most devoted followers. This is also a driving force in his commitment to contribute to the progress of the local art scene, not only as a painter but as one who shares knowledge and experience in the hope of cultivating future masters, all the while feeling the pulse of new trends and developments.
Besana currently holds the position of executive director at the School of Multimedia and Arts at Asia Pacific College. In addition to that, he is also part of the Commission on Higher Education (CHED) Philippines’ Technical Panel Member for Humanities, an NCR Quality Assessment team member for Multimedia Arts, and a technical committee chair for Multimedia Arts.
These posts have in no way hindered the prolific nature of his creative life, as Besana has held eight solo exhibitions participated in various group shows in distinguished art galleries and notable art fairs, and bagged numerous prestigious awards throughout his career.
“All this time all I know is that I’m supposed to do art,” he said. “No drama but there are points in my life that lead me to do other things, I still find myself creating art. Must be the influence of other artists or exposure to art itself.”
Even before he started painting, he had been following the works of Alfredo Esquillo II, and, of late,
Michael Muñoz. But, for the most part, he found himself invariably drawn to solemn and earnest nature of religious themes, evident across his oeuvre which showcases a modern reimagining of old masters. Besana also has a penchant for Latin phrases which are prominently featured in his collections.
“I’m personally overwhelmed with the amount of imagery the church had produced and how it transcends through generations and different cultures,” he explained. “Putting aside the idea of them just being objects of veneration, I focus on how they keep on influencing artists in creating their own art until now.”
He reuses these images to reinforce and strengthen his concepts, which are more intimate and personal in the context of catharsis. The artist also adopts these images as crucial elements to retell stories in a more contemporary point of view. “Sometimes there are things that are beauti- ful as it is that you don’t like to change them to keep their integrity,” he said. “Same goes with Latin phrases.” For Besana, the ideas for his awe-inspiring paintings come naturally, as an organic product borne from his creative soul. “They are already products of my convictions and they’re just sitting there at the back of my mind,” he said. “Usually they would just pop in my head unconsciously.” For the most part, he said, the challenge is “putting them together visually and come up with a production schedule” in lieu of his hectic schedule from managing a school to performing as a musician, and other personal and professional responsibilities. “I’m more forced to follow a specific ritual that would allow me to fit all these things together,” he said, “and I guess it does work best for me.”
His busy schedule has somehow allowed him to beautifully execute technically demanding pieces, showcased in his most recent exhibit “Non in Cruciatu; Sed Causa Quae Facet Martyrem” featured at Ayala Museum’s Artist Space.
Explaining the Latin transcription, Besana said the title means: It’s not the punishment but the cause that makes a martyr. “As an artist you can’t help but be affected with what’s happening in your surroundings,” he explained, elaborating on the inspiration for this most recent collection. “You react to it, respond to it, and do something about it. I can say that this collection of mine is a more peaceful response to our country’s political climate.”
While each piece celebrates the artist’s zest for these rich imageries and displays his technical prowess, one particular outstanding item is the large scale painting recreating Caravaggio’s Martyrdom of St. Matthew. The Saints were prominent characters in his pieces, as he highlights their faith in the face of a fearful. “I was reminded of Sir Thomas More so I painted him together with his famous quote ‘I die the king’s faithful servant, but God’s first,’” Besana said. In addition, he was drawn to other martyrs like St. Peter, St. Matthew, St. John, and St. Cecilia, all of whom also found their way into his paintings. “Their character shone the most when they were persecuted,” he said. “I veered away from the noise and went this direction because I want it to be more meditative.”
Indeed, the collection invites reflection through an appreciation of beauty, and in the scenes depicted within the borders of the canvas, audiences are privileged to partake of a story of virtue and victory, piety and persecution, and triumphs over trials.
‘I’m personally overwhelmed with the amount of imagery the church had produced and how it transcends through generations and different cultures.’