June Dalisay to hold art restoration workshop at Start 101

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Press Release for October 7, 2017


FOR THE first time, one of the country’s most experienced art restorers will hold a basic but intensive 10-session workshop on Painting Restoration for students and art practitioners from October 16 to November 20, 2017.

June Poticar Dalisay, president of the Artemis Art Restoration Services, Inc., has been restoring paintings and other artworks for nearly 20 years, including works by such masters as Juan Luna, Fernando Amorsolo, H. R. Ocampo, Carlos Francisco, Vicente Manansala, Juvenal Sanso, Anita Magsaysay-Ho, and Araceli Dans. A student of Fine Arts at the University of the Philippines, she studied art restoration and conservation with instructors from the Agencia Española de Cooperación Internacional.

The workshop will be held at the Start 101 Art Gallery on the Ground Floor of Concordia Albarracin Hall, Centennial Dorm, E. Jacinto corner C.P. Garcia, University of the Philippines, Diliman, Quezon City. June collaborated with Start Gallery owner, the artist-entrepreneur Virgie Garcia, to design a program covering the basics of painting restoration. “While we will first deal with the theoretical aspects, it will also be a very hands-on experience, with participants learning everything from the proper construction of wooden stretchers to removing varnish and retouching,” says June. “There is a growing need for more trained art restorers in this country, since it isn’t formally taught in our universities and the demand for restorers will only rise with the boom in Philippine art.”

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The 10 am-12 pm sessions will be held on October 16, 18, 23, 25, and 30, and November 6, 8, 13, 15, and 20. The topics will cover conservation in the Philippine setting; properties of materials and factors of deterioration; construction of a wooden stretcher; preparation of the canvas; proper stretching and preparation of the surface; creating an artwork; retouching; patching, grafting, removal of varnish; and correcting dents and further retouching.

The Painting Restoration workshop follows on the heels of workshops on Painting, Film, and Children’s Art that have been held at Start 101. Virgie plans to host other workshops on Calligraphy, Crafts, Printmaking, Needlework, and Collage in 2018.

For more details and to apply for the workshop, please contact Virgie Garcia at 0917-821-8225 and start101gallery@gmail.com. The fee will cover both instruction and art materials.

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Penman No. 257: Wonder Woman in the House

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Penman for Monday, June 26, 2017

 

OVER MOST of the 43 years that we’ve been married, Beng has learned—not without some resistance—to resign herself to being introduced as “the wife of Butch Dalisay” (whatever that means). Lately, I’m happy to report, more of the reverse has been happening. I’ve been attending art events where I’ve tagged along as the quiet husband, content to watch Beng take center stage.

To step back a bit, center stage was where Beng (aka June Poticar) was when I first saw her in college. She was in UP a bit earlier than I was (although you’d never have known it just by looking), and I had a crush on her, but I didn’t think she was going to give me the time of day back then. She was a member of the University Student Council, where all the cool people were, representing Fine Arts; I was a scrawny freshman pecking away at a noisy manifesto in a corner. I admired her most when, sometime in 1971, she led the making and unrolling of the probably biggest wall painting ever made in Philippine art history, a protest piece occupying several floors of the Library building facing the Sunken Garden. I was a reporter for the Collegian, and I wrote up that story, not knowing that the girl behind the mural was going to be my wife just three years later.

We’ll save the love story for some other time, and flash forward to 2017. After variously working for many decades as a fashion designer, a jewelry designer, a graphic artist, and a watercolorist (as well as, of course, a wife and mother), Beng has found her métier and been recognized as an art restorer and conservator—one of the country’s best—and no one could be prouder than her writer-husband.

I was invited to Iloilo last May to speak at an international conference on intangible heritage, which we both enjoyed attending. But I’d have to admit that I was more anxious to attend Beng’s lecture that same week at the University of San Agustin, which had asked her to speak on art restoration before a group of young local artists.

It’s been almost 20 years since Beng joined a group of other Filipino professionals for an intensive, year-long training program in art restoration and conservation put together by the Agencia Española de Cooperacion Internacional, the National Museum of the Philippines, and the National Commission for Culture and the Arts. That turned out to be a life-changing experience for many of them—certainly for Beng, who put up her own art-restoration company and has trained other people in this very small but absolutely necessary occupation.

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Since then, I’ve watched her and her team patiently bring scores of priceless paintings and other artworks by the masters back to life, from the partial restoration of Juan Luna’s Spoliarium, which had suffered a tear, and many other works by Amorsolo, Manansala, Botong Francisco, HR Ocampo, Fernando Zobel, Anita Magsaysay-Ho, Araceli Dans, Bencab, and their peers (once, even a Miro print).

I’d have to admit that I’m more scared than she is when she applies her brush to a century-old canvas, or cleans up the browned varnish on an Amorsolo with a Q-Tip, and I’m sure my mouth hangs open in wonderment when I see the magic happen, but she’s cool as a cucumber, knowing precisely what she’s doing. I nearly scream when we visit museums like the Louvre and the Prado and she comes to within a centimeter of a Renoir or an El Greco to scrutinize the restoration job.

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That’s the woman I saw transforming a roomful of young Ilonggo artists—almost all of whom had never met or even heard of her before—from curious and polite listeners to an animated gaggle eager to practice on their own artworks. I sat like a mouse in a corner of the room as Beng explained the basics and intricacies of scientific art restoration which, as she pointed out, isn’t really taught in art school in the Philippines. (Sadly, not even in UP; you’d think that with the number of beautiful and valuable paintings moldering away in this country, we’d be awash in art restorers, but there’s been very little interest in putting it on the curriculum, probably because there are very few qualified practitioners to teach it.)

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Beng’s lecture and demo in Iloilo was a preview of what a full course should be, where she discussed some basic principles—reversibility, compatibility, durability (“Less is more; don’t do anything that isn’t necessary; always make sure that whatever material you add for patching and grafting is weaker than the original linen or cotton,” etc.)

“My practice of restoration has led me to certain discoveries and I now use non-toxic ingredients to remove stubborn and deeply ingrained dirt and old discolored and hard-to-remove varnish. I have discovered new sources of local conservation materials that have lowered the cost of restoration. I have also developed my own techniques in closing and flattening cracks, softening and correcting dents, and patching tears and holes,” she wrote for Perro Berde, a publication of the Spanish embassy here.

“I’m no Wonder Woman,” Beng says when I tease her, but I suspect she had it all planned out. When she established her company 18 years ago, she chose the name “Artemis,” which English-major-me knows is another name for Diana. I better be careful.

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