{"status":true,"msg":{"data":{"id":55538,"auction_id":107,"set_id":141,"lot_number":"25","artist":"Romulo Olazo (1934 - 2015)","title":"Untitled #344","starting_price":1200000,"signed_dated":"signed and dated 2011 (lower right)","medium":"mixed media on canvas","size":"24\" x 24\" (61 cm x 61 cm)","property":null,"coa":"Accompanied by a certificate signed by the artist\nconfirming the authenticity of this lot","provenance":null,"exhibited":null,"literature":null,"write_up":"

With the Diaphanous series casting a wide shadow, Romulo Olazo’s Untitled series unbiddenly became Diaphanous’s lesser-known sister. Diaphanous is undoubtedly the more famous of Olazo’s series but it also posed another question: after all these unfatiguing decades, what other directions can the series go? With such a heavy question hanging over Diaphanous, Untitled constituted Olazo’s experimental stage as he grappled with the enormity of his other series.

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This 2011 Untitled #344 follows Diaphanous’s naming convention of numerical numbers and yet it looked vastly different from Diaphanous. While Diaphanous dealt with gossamer shine and sheer butterfly wings, Olazo’s Untitled series inserted opaqueness into the equation. Transparency versus opacity with a sense of tension as elements of varying levels of lucidity fought for the right to occupy the space they were given. In Untitled #344, transparent layers overlap one on top of another with the center featuring opaque brush strokes of varying colors. It is a vision on the canvas and a breath of fresh air from Olazo.

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“The Untitled works are Olazo’s cathartic records of [Diaphanous’s] wrestling convulsion,” Cid Reyes wrote in Olazo’s monograph. “Some regarded the Untitled works as a betrayal of the Diaphanous. Others viewed them as a resuscitation of a flagging theme. Still, to some, Olazo was perceived as an artist in transition. ”(Hannah Valiente)

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