Provenance: Private collection

ABOUT THE WORK

Lee Aguinaldo, a pioneering figure in Philippine modernism, was among the first generation of Filipino abstractionists, renowned for his mastery in oil and acrylic works characterized by gestural and linear compositions. Born into an influential family with ties to Emilio Aguinaldo, the first president of the Philippines, Lee’s upbringing was marked by privilege, but his passion for art set him apart. Self-taught yet immensely talented, Aguinaldo earned a revered place among Manila’s elite and in both national and international art circles from the 1950s to the 1970s. Aguinaldo’s connections with prominent figures like Arturo Luz, Roberto Chabet, and Fernando Zobel—his friend and mentor—further enriched his artistic journey. Even from a young age, Lee displayed a deep passion for art, which was evident in his early participation in the annual exhibit at the Philippine Art Gallery (PAG). His involvement in the first non-objective group art exhibit, alongside luminaries like Zobel, Vicente Manansala, H.R. Ocampo, and others, cemented his place in the avant-garde movement. Over the years, PAG would host several of his exhibitions, showcasing his evolution as an artist. One of Aguinaldo’s most iconic contributions to the art world is his “Linear Series,” a collection that defied conventional Filipino perceptions of beauty through its distinct color sensibilities and minimalist approach. These works, characterized by planes of solid colors and simple geometric forms, were painted on tough marine plywood—a departure from the more traditional canvas or lawanit. The “Linear Series” gained international recognition when it was exhibited at the 1971 São Paulo Art Biennale in Brazil. Decades later, in September of last year, a diptych from this series, “Linear 98” and “Linear 99,” was sold at Leon Gallery’s major auction for a recordbreaking PhP42 million. The auction catalogue praised the pieces for their “powerful chromatic contrasts and genius geometric articulation.” Aguinaldo’s artistic evolution didn’t stop with the “Linear Series.” He later entered what is known as his “Galumph phase,” inspired by Robert Motherwell’s vibrant mixedmedia collages. Drawing influence from Jasper Johns and Robert Rauschenberg, Aguinaldo began incorporating lines, symbols, and numbers into his works, experimenting with techniques like frottage—where he would transfer photocopied magazine images onto art paper using butane and then enhance them with pencil or ballpen to create a hand-drawn effect. This piece titled The Metaphysics Building (Stage III) serves as a transitional piece between Aguinaldo’s earlier “Linear Series” and his later, more figurative works. It captures the essence of his artistic journey—a blend of abstraction and a move towards more complex, layered compositions that challenge traditional notions of form and meaning. (Jed Daya)