The weekend provided me with the opportunity to revisit Puluy-an Art Space after a long time. I was able to view the pen and ink works on display, and it was truly an amazing collection. I couldn’t help but express in our vernacular—terrible nga mga istrokada!— the strokes are incredible and together with that is the overall collection. 

The title “Istrokada Stroke” employs casual bilingualism, referencing the technique of pen-and-ink on paper to emphasize “stroke” as a key characteristic of the collection, while incorporating “istrokada,” a slang term commonly used among artists when referring to the rendering of the lines in the work.

I liked a few pieces, but unfortunately, I couldn’t afford any of them. I was, however, lucky enough to enjoy a beer and food treat from Melvin and Racheal Guirhem and the Puluy-an artists. Lol! I’m comforted.  

That said, I was tempted by a tiny, almost unnoticeable piece by Jecko Magallon titled “Red Chair,” measuring only 10 x 8 inches in a frame. I found myself wondering if the contents of my wallet would allow me to purchase it. Well, again, if only.

While I’m not an art collector, I found a particular work in the collection titled “Metamorphosis” by Alfredo Esquillo to be intriguing, meaningful, and visually powerful. Perhaps it was the clean, straightforward rendering of a face held by a chain on a stand, facing to the right, while three derivative faces, like masks, moved in the opposite direction.

It quickly evoked thoughts of contradiction—the concepts of right and wrong, concealment and transparency, real and false identities, or alienation from reality.

Looking at each piece in the collection reveals the visual power of minimalist composition and its ability to evoke emotion, highlight a message, and deliver meaning. This is why pen and ink works possess timelessness.

According to Ilonggo artist PG Zoluaga, who wrote the exhibit text, “The beauty of pen and ink lies in its ability to convey complexity with simplicity, capturing both the depth and movement within a single stroke.” The works on display showcase each artist’s unique skill, with refined strokes that emphasize their individual approaches to the medium. Predominantly monochromatic in style, these pieces invite viewers to explore the artists’ imaginations, experiences, and visions.

“In every stroke, there is a rhythm,” adds Zoluaga, “a heartbeat of the story being told.”

The exhibition showcases not only the technical proficiency required for such intricate work but also the emotional and conceptual depth of the artists who created them. This is evident in works like the Series 1-12 by Edmar Colmo (2002), the three masterpieces by Melvin Guirhem (now mostly translated into large, colorful mural-sized textile art), a collection by Daniel Ledesma Tinagan (or Bknwa), works by Ronnie Granja, and the grid pen illustrations by Isis Aman, among others.

What pen and ink emphasizes is the importance of lines in defining forms, as noted by John Paul Castillo. This makes it a crucial medium for learning how to effectively compose and structure artwork using strong, deliberate lines.

Some works also feature high contrast or dramatic colored backgrounds or main subjects, such as the acrylic and ink on glass plate series by Orland Espinosa, as well as the works of Kinno Florentino, Ronn Bulahan, Kristoffer Jan Sobremente, Khyle Francis Dile, and Yanni Isabel.

Istrokada Stroke allows viewers to appreciate the distinction between paintings and pen and ink. The latter draws viewers in with its sharp, precise lines and shading, while the former invites the viewer with its richer, more layered colors and depth.

The visual narratives depicted in Istrokada Stroke truly celebrate the power of pen and ink to convey both the seen and unseen worlds through the eyes of the artists.