Mario Parial

Mario Parial was born in Gapan, Nueva Ecija on August 13, 1944 to Fidel Garcia Parial – a local kalesa coachman – and his wife Aurora. Gapan was founded in 1595, and is known for its vast tracts of farmland. Parial, the eighth of 14 children, was thus born in a very atypical rural Philippine town. The prosperous rural nature of the town would eventually serve as a foundational setting for much of his artwork. Later in life, his achievements would not go unnoticed by his hometown—in 2004, the province of Nueva Ecija honored Parial with a plaque of appreciation.

The Parial family eventually left Gapan, however, and eventurally settled down in the La Loma district of Quezon City. Parial flourished in the big city, pursuing a fine arts degree at the University of Santo Tomas, where he also took some theology classes.

Folk Imagery

It was because of these classes in theology that Mario Parial developed an interest in Philippine folk imagery, and intensely studied the rituals, rites, and customs of both urban and rural folk. From this came his early themes of the Nazareno, Marian processions, and the Moriones. An early foray was 1967’s Nazareno Quiapo rubber-cut print, done when Parial was still a student at UST. “The folksy depiction of the (Nazarene) tableau is typical of the artist’s style: flat figurations, ebullient color; and affected expression that are enlivened by intricate adornment and an organic impulse that spurs a profusion of wild flora to bring a neutral space to life,” wrote Patrick Flores of Parial’s Nazareno works. The Moriones Festival is a Lenten celebration held in Marinduque since the 19th century. The name moriones refers to the masked Roman soldiers that escorted Christ to the cross—a morion being the helm used by Spanish soldiers in the 16th and 17th centuries. Parial has made several iconic artworks on the Moriones theme from prints to large scale canvas works.

The artist frequently uses figurations as a platform for a deeper investigation of the meaning of folk motifs. “Parial has also gone in areas exploring the decorative and emblematic elements of talismanic anting-antings and the religious icons of folk Catholicism,” wrote art critic Leo Banesa.

Masks and Jesters

The Moriones Festival also led Parial to study to conceptualize the use of masks as a cultural marker in his practice. His research led him to the imagery of European mask sorties—particularly the famous masks used at the Venice Carnival in Italy. This led to the expansion of these images in his works, particularly masks and court jesters, in their checkered attire. The motif intersected with Parial’s folk aesthetics, creating a hybrid imagery characterized by the lively colors of both jesters and the tropical light of Philippine festivals and fiestas.

Prints and Printmaking

While a student in the UST, Parial also attended the printmaking workshops of the late Manuel Rodriguez, Sr. – the Father of Philippine Printmaking – at the Philippine Womens University. “A teacher can tell when a student has got what it takes. I can say that of Parial,” wrote the late Manuel Rodriguez, Sr. of Parial. Indeed, his earliest artistic inclinations were that of a printmaker. In 1965, as a third-year student at UST, he held his first solo exhibition, which was organized by the Art Association of the Philippines, and featured 35 prints.

“In printmaking, I’m acutely sensitive to the limitations and possibilities of the material,” revealed the artist. “This aesthetic medium allows a freedom of movement and exciting exploration of the unknown and unexpected, which enables the artist to achieve a freshness and vitality from plate to print.”

Mayhaligue Painting

Perhaps one of the crucial landmarks in understanding Parial’s oervre is the genesis of the Mayhaligue painting—the forerunner of a mother and child series that introduces the exceptional approach of framing the subjects with a window. Mayhaligue was the name of a street in Santa Cruz, Manila where the Parial family lived in the 1970’s.The painting, done in 1976 and sold to 1952 Miss Universe Armi Helena Kuusela-Hilario, ostensibly depicts Mario Parial’s wife, Carina, and their first-born Ochie. The house address, 1624, is displayed alongside potted foliage in what the artist remembers being one of the happiest periods of his life.

Parial revisited this composition throughout his oeuvre, in different forms and arrangements. It also formed the basis of his other works of rural scenes, often integrating other motifs and figures from his studies.

Promise Fulfilled

“Parial’s promise as an artist was fully realized through the years,” wrote the late Manuel Rodriguez, Sr. This exhibition only validates this statement. Mario Parial was one of the country’s foremost artists, and encapsulated the Modernist age of Philippine art history. He has won numerous awards for his paintings, including First Prize at the Art Association of the Philippines 1966 Graphic Arts Award, First Prize in Sculpture at the 1966 Shell National Student Art Competition, and The Outstanding Thomasian Alumni award from his alma mater in 2009. He was a recipient of the CCP Thirteen Artists Award, and has exhibited extensively in Asia, North America, and Europe.