The poetic descent of Onib Olmedo’s art into the ominously dark psychoanalytic netherworld began in 1971, after he decided to shift from his 12-year career in architecture to painting, what with his first solo exhibit at F. Sionil Jose’s La Solidaridad in Manila. Almost hinting of a glimpse into the private settings, and the inner psyche of a woman, one is compelled to ask: is she hurting from a broken pledge? A keen observer of people and a habitué of the bars and cafes along Mabini, Olmedo had much to say in his paintings about Manila, its people, and changing social climate. Olmedo’s interest in his subjects go far deeper than the superficial appearance of their facial characteristics. The exaggeration of form seen through elongated faces, disproportioned physicalities, and emaciated, Egon Schiele like anatomies are characteristics of Olmedo’s psycchoanalytic approach to painting.