Ramon Orlina owes his ingenious manipulation of glass as a powerful medium in sculpting to his academic rearing at the University of Santo Tomas, where he graduated with a bachelor’s degree in Architecture in 1965. The architectural principles Orlina imbibed through the course of his university education cultivated his artistic sensibilities. In a November 16, 2002 PhilStar article titled “Ramon Orlina’s translucent life,” the artist shares how his architectural background profoundly contributed to his distinct artistic style. “I am not very “mechanical,” but my science and architecture background are very important,” Orlina says. “It’s a big help to me now because when I create big works, I can design them in such a way that they will stand up, or we can put lights and so on. If you don’t have the science and architectural background, you don’t know the practical limitations of your artwork. You must have a good design, but if it cannot be built, then you will have a problem. In architecture, function is as important as the design; it’s no good if it doesn’t work.” In the same article, Orlina recounts his first encounter with glass as a medium. “I wanted todo something different. I started painting on glass using enamelbased paints. I chose glass because architecture is basically a lot of steel and glass, so I’ve always had a fascination of and love for these materials. Even when I was making houses, I was fascinated with glass. I liked mirrors because they widen the space. So, I started experimenting.” Orlina has cited the British sculptor Henry Moore as one of his foremost luminaries. Moore’s works possess that “force... a vitality from inside it, so that you have a sense that the form is pressing from inside trying to burst or trying to give the strength from itself.” Moore’s artistic principle is assimilated in this 2011 piece, Curvature in Azure Blue. Aside from his well-known, acclaimed series— Naesa, Ningning, Anna, and Michael’s Martial Arts, Orlina had also explored themes revolving around the subject of nature, such as fauna and water. In these themes, Orlina evokes the artistic practice of Moore by bringing to the forefront natural and organic forms, emphasizing their innate fluidity and arresting translucence. Such is the case with the work at hand. Here, the azure blue color Orlina employs fittingly induces feelings of tranquility and stability akin to the idyllic atmosphere invoked by the calming blue waters of the ocean. Orlina’s minimalist instincts are made evident through his use of simple lines. Light penetrates the interiors of the sculpture through its apertures, exhibiting Orlina’s refinement in using the full potential of space to bring out the work’s natural form. Therefore, this work is best seen as a sublime discourse between light, form, and space. (From an essay by A.M.)