RAJO LAUREL
Fashion designer
YSTYLE: Can you explain your process in collecting art? Describe your experience?
These days, the way I collect art is I basically stalk people on Instagram. And if I like them, I just write a letter or I text them; if they respond, then it’s a little bit more unusual that way because essentially the people holding the artworks are the artists themselves.
I tend to bypass galleries and the bureaucracy that goes with it, the things that you’re forced to go through in the art world right now — be it the agent, the gallery, the manager, long before you get to the artist. However, that’s now, and those are really for up-and-coming artists whose work I’m normally drawn to.
Of course, before, I also did the normal route of going through the galleries but right now I really find the process of knowing the artist, getting to understand them, getting to the soul of what they’re doing, much more exciting.
“There’s no narrative to what sort of draws my attention. Some are abstract, some are a little bit more figurative, some are a little bit more serious, some are dark. It really depends on how I feel. And ultimately, to be honest, it really is if I can afford it. It’s all based and bound by that.”
Is newness something you look for?
No, not necessarily. In fact, what I go for is really just a simple gut feel, what I really am drawn to, that kind of aesthetic. Funny thing is that most of the art that I’m collecting now is actually by women, which is interesting to me.
What do you look for specifically in pieces you collect?
There’s no narrative to what sort of draws my attention. Some are abstract, some are a little bit more figurative, some are a little bit more serious, some are dark. It really depends on how I feel. And ultimately, to be honest, it really is if I can afford it. It’s all based and bound by that. I try not to go beyond what I can afford. And also, I’m drawn to younger artists primarily because I feel that they’re not as caught up yet in the art world.
What is your most cherished piece?
My Lao Lianben and my Ben Cab, mostly for sentimental value.
Do you believe in multiple pieces from the same artist? Or do you like to keep it diverse?
I’m not exclusive. Although there are — like for instance, for a while I was really addicted to Ryan Villamael, so I’d collect, collect, and then suddenly I had a John Marin binge, then Tokwa Peñaflorida. So it depends whom I’m drawn to; they’re just different moods. It’s always a mood, and what kind of art they’re doing at the moment.
Does “art as investment” play a role in your forays? How do you envision the future of your collection?
It’s never investment. It’s really more to enjoy the art.
I’m glad that my family is growing, I mean probably between my family, my brother’s family, my sisters’ family, my nephews, my nieces — I shift all my paintings around. If it’s not at my house, it’s at my sister’s house, or at Nix’s (Alañon), they all move around. Art is meant to be shared; so if possible, the more people can actually see it, the better.
Are you looking forward to #ArtFairPH? Tell us what you’re expecting.
Of course! I’m definitely going to listen to Patty Eustaquio’s talk. I’m a big fan of hers and she knows that. I just want to sort of get inspired by what her process is and listen to her thoughts.
I’m also excited to see what’s out there. It’s a beautiful and great way to actually see, to get a pulse of what the artists are saying, all in one area. You always get to sort of like feel the energy when you’re there. The Art Fair, for me, is really not about acquisition, it’s really more about experiencing and getting together. I like the Art Fair. Really, I go either at the very,
very beginning or at the very, very end. It’s either I’m there before anybody else or just before they actually bring the paintings down. Those are my two favorite times of the Art Fair.