The first woman to be named a Thirteen Artist Awardee in 1972, Ofelia Gelvezon-Tequi remains one of the most prominent voices in contemporary Philippine Art. “One characteristic has marked Ofelia Gelvezon-Tequi’s works: Despite their disparate inspirations, they all refer to the Filipino’s social milieu and history,” Reuben Ramas Cañete wrote in Pananaw 2, Philippine Journal of Visual Arts in 1998. “Ofie has chronicled the Filipino consciousness in a way few artists have done, with lesser machismo and more bravura.”
\nWith these works. Gelvezon-Tequi explores an important theme in Philippine society – religion. She portrays two varying accounts of Christ’s crucifixion, imbuing them with different Filipino themes. In one work, Gelvezon-Tequi depicts a chaotic scene; as Christ hangs desolate on the cross and the women weep at His feet, several people walk into the scene and break the solemnity. At Christ’s feet, two people are locked in an embrace while a few feet beside them, a man in modern clothing kneels with his arms spread wide. Two people watch from a distance as though the crucifixion is nothing more than street gossip. Even more poignant is a group of street children situated not inside the frame with Christ but on the outside. They stare balefully at the audience as though communicating with them.
\nThe works of Gelvezon-Tequi draw from many different inspirations. Here, she incorporates allegorical symbolism, drawing from the ever-full well of history, philosophy, and literature, and mixes it with Catholic iconography. By portraying classical religious scenes and juxtapositioning them with the Filipino staring from the outside, Gelvezon-Tequi created a religious world where the Filipinos are both participants and spectators, repositioning Christ’s sacrifice on the cross in the context of prevalent poverty and disillusionment in the country. (Hannah Valiente)
","lot_group":"PAINTING","lot_details_html":"Ofelia Gelvezon-Tequi (b. 1944)
a.) Nuestra Señora de los Siete Dolores
signed and dated 1998 (lower right)
acrylic on rag paper
38 1/2\" x 51\" (98 cm x 130 cm)
b.) Crucifixion 2
signed and dated 1998 (lower right)
acrylic on rag paper
38 1/2\" x 51\" (98 cm x 130 cm