Years after his period of post-Venice Biennale“breaking loose”, as the Dean of the College of Fine Arts at the U.P., a position he held since 1969, Joya worked on plans for a campus-based research center for Philippine design, based on folk crafts, and Joya has gone as far as incorporating some of the designs plastically in his works in the 70s.
From 1974 to 1979 in the 70s and onwards, Joya did work in a variety of forms: acrylic collages with effects similar to “kiping” the leitmotif of the Pahiyas celebrations in Quezon, or threads of the “papel de Japon” of the Philippine parol. His paintings of this long phase suggest the gossamer and the elusive. With their rhythmic transparent planes, they enter into the realm of illusion. Thread-like streaks and deliberate gestural lines break the larger expanses of color. There are many aspects of Joya’s art that are clearly influenced by Western forms and styles, but at the heart of his painting is the meditative Filipino spirit.
Space is multilayered, interpenetrated with delicately slender-colored hues with collage-like surfaces. Joya gives in to Clor Hedonism which assumes a symphonic quality. Interest resides in textural variety, currents of color movement with slender shapes. Layers of overlapping colors with textures of fragile surfaces suggest the eccentricities of uncharted skies lit by a red oriental sun.