{"status":true,"msg":{"data":{"id":58462,"auction_id":121,"set_id":155,"lot_number":"98","artist":"Solomon Saprid (1917 - 2003)","title":"Tikbalang","starting_price":800000,"signed_dated":"signed \nca.1970s","medium":"bronze","size":"H: 23 1/2\" (60 cm) \nL: 10 1/2\" (27 cm) \nW: 11 1/2\" (29 cm)","property":null,"coa":"Accompanied by a certificate issued by the heirs of the artist confirming the authenticity of this lot","provenance":"Private collection, USA","exhibited":null,"literature":null,"write_up":"In Philippine mythology, Tikbalangs are nocturnal creatures that are often found lurking in dark forests. These half-man and half-horse creatures were said to have incredible speed and a mischievous nature, which is likely to cause trouble for those who cross their path and lead travelers astray. There are many other tales and beliefs surrounding these mythical beings, but all lead to them being portrayed as treacherous and malevolent.
Solomon Saprid, however, strips off his tikbalang's fearsome qualities. Instead, he exaggerates its long equine head, maned neck, and gangly limbs, resulting in an appearance that makes it seem like a playful, comical creature. The lot at hand is an example of this. Hands on its knees, head slightly turned to the side, and a hunched back while in a sitting position, there was a palpable sense of dejection that could be felt from this Tikbalang. Did it fail to deceive\nand cause people trouble? Was it sad to be waiting in vain for its next victims? Nevertheless, it was as if the artist was telling his viewers that these creatures were allowed to feel emotions, too.
Made with brass, the artist's preferred medium, Saprid's dedication to his craft is evident in every hammer, forge, bend, and twist of his materials. This piece also showcases his knowledge of the human body, owing to his continued drawing practices, which have enabled him to master every curve and detail.
Aside from his depictions of mythological creatures, what makes Saprid's sculptures belong to a supernatural realm are their craggy and airy qualities. His metal sculptures are made from metal scraps welded together using a blowtorch, a process that produces a jagged effect along the seams where the edges join. There were also spaces in between, allowing air to pass through. This trait, according to Alice Guillermo, was a vital part of Saprid's figurative style. \"For space not only surrounds the figure but weaves in and out of it through the spatial intervals, nets, and apertures,\" Guillermo reiterated. Thus, despite being solid and heavy, his sculptures bear a certain fluidity.
In addition to his impressive metalwork and excellent interpretation of his subjects, Saprid has a penchant for making his figures look frozen in time. Describing the esteemed sculptor's works, art critic Alfredo Roces once wrote about the kinetic quality imbued in Saprid's works, \"[it has] a sense of arrested action. The effect is one towards which the artist strives. He refers to it as 'frozen motion.'\"
Throughout his sculpting career, Saprid has shown remarkable versatility, experimenting with a range of materials, including wood, adobe, and metal. His preference for using metal, especially brass, allows him to bend, shape, stretch, and transform it into expressive figures, demonstrating his adaptability and artistic range.
But before Saprid's venerable sculptures came to light, he was first an artist who drew and painted. He has a collection of artworks created using a myriad of styles and media. Their themes and subject matter, however, were the same as his sculptures: mother and child, religious, historical, and sundry images of ordinary folks. Saprid also created numerous nude drawings and studies, which served as his practice for llustrating the human form —a skill that later materialized in his sculptures.
While his works are easy to recognize and understand, the familiarity of them all also has its risks and expectations. 'Did I capture the essence of the subject being portrayed?' was one of the questions attached to Saprid's sculptures. Still, these themes stemmed from his firsthand experiences and meticulous research, translated into exquisite works of art that offer a genuine portrayal of our culture and traditions.
It may be that Saprid's Sad Christ and his entry to the Art Association of the Philippines' 1967 art competition marked the beginning of his enduring artistic career. But it was his diligent attitude and unbending dedication that cemented his name as one of the pillars of modern art in the country. (Jessica Magno)","lot_group":"SCULPTURE","lot_details_html":"