Ed Defensor legacy can be viewed in the exhibition Látid, a revisiting of the artist’s oeuvre at the University of the Philippines Visayas Museum of Art and Cultural Heritage.

Látid is a Hiligaynon term used to describe “measure, breadth, or scope.” It is also used to illustrate something limitless or boundless. The show traces back to the 1970s, a period considered the first significant wave of art revival in the region, akin to a local version of the Renaissance.

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Iloilo holds a significant place in the development of the country’s arts scene, with notable figures such as Felipe Zaldivar, Jesus Herva, Fernando Kabigting, Lamberto Hechanova, Timoteo Jumayao Jr., Adiel Arevalo, and Nelfa Querubin, among others, recognized as pioneers of the arts between the 1940s and 1960s.

However, the regional art scene experienced a period of dormancy with the decline of the zarzuela, a popular Filipino theatrical form, and the downturn of the sugar industry. This shift led to a reversal of fortunes among the sugar barons, who had been key patrons of the arts, commissioning works for both public performances and private homes. This decline persisted until the 1970s.

Pivotal decades

The 1970s to the 1990s were pivotal decades in the development of visual arts in Iloilo, as noted by Prof. Gaudelia Doromal of the University of the Philippines Visayas (VIVA EXCON 1990-1996 publication).

One of the significant milestones during this period was the establishment of Museo Iloilo, which became an important venue for exhibitions. 

During this time, UP Fine Arts Dean José T. Joya, a National Artist, also visited Iloilo regularly to conduct summer art workshops. His visits helped spark renewed enthusiasm for art and encouraged local art production among Ilonggos.

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Additionally, in the late 1970s and early 1980s, former Ilongga senator Nikki Coseteng’s Galerie Dominique brought exhibitions featuring established Manila artists to Iloilo. These engagements contributed to the growth of local art patronage, further strengthening the region’s artistic landscape.

Moreover, the impact of this revival can be seen in the flourishing of various art forms, particularly visual arts, with artists drawing from both traditional and contemporary influences to redefine what it meant to be an Ilonggo artist. It was a period of postmodern art in the West, and the works of Ilonggo artists of the time reflected influences from art styles such as Impressionism, Expressionism, and Cubism, among others, through works that introduced unique innovations and subjects highlighting local history and culture.

It was also a period of learning and rediscovering art forms, such as ceramics and fine print, that were gaining attention in other parts of the country.

1990s and beyond

Iloilo’s art scene further flourished in the 1980s with the formation of Hubon Madiaas in 1983. A new generation of artists emerged, eager to reawaken Iloilo’s rich artistic heritage and reshape its cultural identity, with many of them participating in national art competitions, gaining recognition, and winning awards.

The 1990s continued this momentum, with Hubon Madiaas launching the “Hublag: Ilonggo Arts Festival” in collaboration with the Iloilo Arts Council and with support from the Cultural Center of the Philippines’ Outreach Program. During this time, artists experimented with local and indigenous materials, incorporating them into their works, including paintings.

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The decade also saw the creation of the Visayas Islands Visual Art Exhibition and Conference (VIVA ExCon), which further advanced art practices, strengthened artist camaraderie, and led to the formation of new art groups, revitalizing the local art scene.

A prominent figure in this resurgence was Ed Defensor, whose works and contributions formed a legacy intertwined with the broader cultural reawakening in Iloilo, laying the foundation for the growth and development of the local arts scene in the years to come.

Látid presents a survey of works by Ed Defensor from the late 1970s to 2001, showcasing his creative intuition through pieces focused on mastering subjects that sparked his curiosity or techniques that challenged his abilities. Despite producing a substantial body of work, Defensor’s art does not reveal a recurring style or trademark—something typically expected of modernist artists—making him a postmodern artist.

The collection in Látid portrays Defensor’s remarkable creative energy, a wide range of meaningful themes, and a significant level of inventiveness. These elements are unified by craftsmanship that exceeds average standards, always adhering to a strong sense of aesthetic quality. His creative restlessness and constant exploration of various mediums—from paintings to prints to sculpture—make him an exceptional artist and an intriguing figure even today.

Látid only shows a portion of his works, yet it demonstrates the place of Ed Defensor in the history of regional art and, by extension, in the art history of the Philippines.