𝐅𝐫𝐨𝐦 𝐀𝐬𝐡𝐞𝐬 𝐭𝐨 𝐀𝐫𝐭: 𝐁𝐢𝐜𝐨𝐥𝐚𝐧𝐨 𝐀𝐫𝐭𝐢𝐬𝐭𝐬 𝐓𝐫𝐚𝐧𝐬𝐟𝐨𝐫𝐦 𝐓𝐫𝐚𝐠𝐞𝐝𝐲 𝐚𝐧𝐝 𝐓𝐫𝐚𝐝𝐢𝐭𝐢𝐨𝐧

Albayanos have a plethora of talents that contribute to the region’s thriving art scene. In a digital age where ushering in an era of creative expression is mostly driven by trends and algorithms, local artists are out to prove that art can still keep up with modern aesthetics— bringing cultural enrichment to the essence of what it truly means to be a Bicolano artist.

For lava rock artist Vicente "Enteng Bato" Ajero and “grave branding” artist Jafryl Refran, their craft is more than just about being a dependable source of livelihood, hence, it’s their igniting passion that serves as a constant boost to personal fulfillment and creative breakthroughs. Over the past years, their works have become a living testament that art can flourish if an artist takes time to explore what they selfishly are interested in.

It is the deep connection with nature and innate ability to see the beauty in the mundane that puts some artists in a league of their own. While some combine observation and imagination to create an art that reflects their peculiar experiences of nature, others channel their fascination with the environment by using natural elements to express humanity's relationship to earth.

Famously called as "Master of Mayon Art Stone”, Vicente "Enteng Bato" Ajero has been carving and chiseling away enormous chunks of lava rocks into art works for almost 20 years. Moving near Cagsawa Ruins led him to pursue his craft, wherein some local and foreign tourists are continuously getting attracted to his sculptures of anito, frog, Cagsawa church tower bell, and other traditional and modern carved art works. In an interview with The Bicol Universitarian, Ajero shared that he had also explored other forms and statues that can be made out of lava rock.

“Marami pa akong ginagawa sa bato. Halimbawa ‘yung sizzling plate [at] mga lava grills. Materyal lang talaga ang kailangan. Mano-mano lang ‘to,” Ajero said.

Furthermore, Ajero stated that the rocks he uses for his sculptures comes from the lava rolling down the slopes of Mayon Volcano.

“Kapag nabaha nang malakas, dyan lang ‘yan sa tabi. Ako lang din ga kolekta nyan. May mga trucking dyan [na] binabayaran ko kasi ‘di ko naman kaya ‘yan. Backhoe ang nagkakarga,” Ajero added.

It was during the aftermath of the deadly Typhoon Rolly in 2020 that compelled Ajero to start anew. Aside from being left homeless, his displayed artworks with an estimated cost of P500,000 were also washed out by the typhoon. But this tragic calamity did not stop Ajero to become a local icon. He was able to revive his lost livelihood and his artworks caught the attention of national and local media.

“Wala na akong dinisplay kasi inanod na. Tig-continue ko lang kasi ito lang naman ang hanap-buhay ko rito. Ito lang naman talaga ang maintenance ko sa araw-araw. Araw-araw akong gumagawa. Hindi naman nauubusan, laging may order. Halimbawa sa isang linggo, nakakalimang-libo ako. Linggo-linggo ‘yan,” Ajero recalled.

While his hand lay upon the somber reminders of perished loved ones, the peculiar designs transform from his abstraction to tangible art works. One might mistake the tinsel grave epitomes for some sort of vandalism. Nevertheless, the seemingly manic penchant for brand designs have carried his fate into the company of the dead— and the deed is rather enamored by many.

He is Jaryl Refran, a 42-year-old “grave branding” artist from Polangui, Albay. According to him, the Rellleve’s family from Oas, Albay adopted the annual hiring of a painter to decorate the graves of loved ones with a fancy mix of popular brands. It was purportedly an inherent method of honoring the dead every “Undas” or All Souls’ Day, which brandished with the faith of bringing the ethereal sense of being remembered even in the afterlife.

Fueled by the sleight of hand and a wide array of visual techniques, Refran is able to embed graves with familiar logos. He was not actually the first to take the job, but once he embarked, the endeavor was patronized by the Relleve family and became part of the unwavering heritage. The famous Tancho-pomade-inspired tomb that Refran painted was a comical tribute of the said family to their father's obsession with Dr. Jose Rizal's iconic hairstyle. Moreover, Refran shared that although the Relleve did become his persistent customers, the polished works would also appear in more familiar places.

“Ito lang naman [ang] madalas na pinipintahan ko na panchon. Nung namatay ‘yung anak ko, ginawan ko rin ‘yun ng design,” Refran mentioned.

In classical standards, Refran’s contemporary technique is almost equivalent to a fresco. Those historical wall embellishments painted for pious purposes and aesthetics resonate into Refran’s grave brands. Nonetheless, the themes are more reminiscent of popular murals seen in modern urban scapes boasting eclectic references to personalities, fashion, and abstract concepts.

The actual deed is not facile to complete. By any means possible, the painting would take days according to Refran. Since the toil is outdoors, without the luxury of conventional studios, erratic weather conditions are something to reckon with.

“Three days usually ang pagpipinta ko. Minsan may trapal kasi mainit, hindi kayang itutok talaga. Sa isang araw kaya rin, kaso dapat may bubong,” Refran said when asked about the typical duration of the painting process.

Refran being in the business is never as easy as digging for dimes, but life as a painter is an ebb and flow of opportunities for him. Since 2016, he has been recruited to paint the logos of his favorite brands on the patriarch's tomb: Lacoste in 2017, Black Label Johnnie Walker in 2016, Bvlgari in 2018, M&Ms in 2019, Wrigley's Doublemint in 2020, Alpine in 2021, and the Jollibee design in 2022 that garnered millions of views on social media.

How art gets political

There will always be those who create art even if they know they won't benefit much from it. These people are not promised fame or fortune, but they still go on, because they believe that their craft should be shared with the world. In Bicol, artists still have a long way to go before it gains full-blown recognition from the Filipino audience, and this is when the local government units (LGUs) should take their part in disseminating institutional support for the local art industry to survive.

The gallant works of Ajero and Refran have brought exceptional contribution to the communities they belong in. Today, their crafts are already well-known across Albay— something sundry generations appreciate sheerly. Ryan Phillip Haboc, an artist from the Bicol University College of Nursing (BUCN), acknowledged the uniqueness and promising creativity innate to Ajero and Refran.

“The art industry in the country needs more support internally… not just only for visual showcases but for a living as well,” Haboc stated.

Meanwhile, Mayor Carlwyn Baldo of Daraga said that while they give assistance to the local artists of the LGUs, they also show support to other artists outside the municipality.

“Ngayon actually meron kaming contest sa mural painting. Not only arts in painting, meron din kami sa music. Meron kaming contest para sa hymn ng Daraga and Cagsawa, songwriting contest…” Mayor Baldo narrated.

He also added that in smaller cities, local artists set examples for young people who might be considering careers in the field of art.

“They are part of the growing economy. You have to be recognized. Welcome kayo dito sa Daraga. Anything na talents ninyo welcome dito sa Daraga,” Mayor Baldo concluded.

In a nutshell, Refran and Ajero, akin to countless more of such astounding artists, are distinctive by the way they unleash their visual talents. Even in the bleakest graves and blandest lava stones, ideas do flicker in the playful minds. Although their famous works are a mix of external influences and personal drive, what sets them apart from a myriad of other endeavors is the peculiarity and contribution in the cultural scene.