Marcel Antonio

Currently an exclusive artist of Galleria Quattrocento, 

Marcel is highly noted for his pieces of works that 

resemble a string of poems and stories expressed

 through visual means. He was able to build a huge following for his works, which thrive in vibrant shades

and tones constantly echoing myth, ambiguity,

and reality intermingled with one another.

His wide-ranging audience locally and internationally continues to clamor for his striking and distinctive human

figures and luminous still life works. Indeed,

Marcel proves to be worthy of the accolade of

loyal collectors, the delight of several art dealers, and the aspiration of many of his colleagues in the industry

THE NAISSANCE OF A YOUNG PROFESSIONAL

While still a sophomore in the University of the

Philippines College of Fine Arts, Marcel already

emerged as one of its most promising art

students, having been able to exhibit his works

in a solo exhibition. His professional career as

an artist catapulted in the exact same year.

Consequently, he had to deal with the

pressures of being a student and a burgeoning

artist at the same time.

Now already in his forties, this articulate artist

admits that he went through a number of

transitions in terms of his art, but remained true

to his belief that humans will continue to seek

images of themselves in order to gain a deeper

comprehension of their own worlds.

His works still belong to an unrestrained,

non-literary approach in storytelling and subtly implied

narrative with humans playing the pivotal roles.

Coming from parents who are accomplished

artists themselves—Angelito Antonio and

Norma Belleza—it might be easy to arrive at the conclusion that Marcel’s endowment and propensity for art is in his

genes.

However, he asserts that his skill was actually

nurtured. As a matter of fact, Marcel’s interplay of

visions and thoughts in his works show no hint of influence

from his parents’ artistic style despite being exposed to

their art realm as he was growing up. Instead, he

managed to develop and mold his own aesthetics and

sensibilities, and this became highly evident and operative

throughout his career. He deems that one’s ability to paint

or draw can be learned, just like what happened in his

case. He believes that he was never a virtuoso, but

rather, living proof that it is possible to chisel one’s craft

with adequate willingness and perseverance.

As a child, his creativity was spurred by his

fondness for pop culture, most especially for comics and

animation. He even revealed that it was his childhood

dream to become an animator.

"I grew up reading comics and things like that,"

he shares. "I remember the times when my father

would teach me how to draw a muscled man.

I guess my passion for figures and storytelling

comes from that."

According to Marcel, although his works’

themes vary from time to time, he derives most of his

inspiration from peculiar contemporary mythologies.

Marcel stressed that the concept of mythology which he

follows goes beyond the common Greek and Roman notion.

"Myth can be anything, just like what

Joseph Campbell enunciated in ‘The Power of Myth’,

where he discussed comparative mythology and the continuing role of myth in human society."

ON THE ISSUE OF ORIGINALITY IN ART

Even up to present times, some artists and

critics are still almost always on the side of novelty

and originality in art. They seem to remain adherent to the

idea that much of today’s art is recycled, derivative,

and restively self-aware. When most artists emphasize

on the significance of originality, Marcel takes on

a different direction.

"My father used to tell me to not be afraid to

copy as it is the safest way of studying.

Even the masters did it.

After all, there is a saying that you can only

equal your master, but never surpass [him or her].

Originality is a 19th century idea na hindi mamatay-matay

when right now wala naman na talagang original.

Striving for originality in art is delusional. You can only do

so much," he muses.

Art Studies

University of the Philippines, College of Fine Arts

Selected Solo Exhibitions

Cultural Center of the Philippines
Brix Gallery, Manila
Liongoren Art Gallery, Manila
Langue et Parole, West Gallery, Manila
Dialogo, The Drawing Room, Manila
Les Petites Histoires, Ad Infinitum Galleries, Manila
Märchen, Jasmine Fine Arts, Singapore

Selected Group Exhibitions

Raab Galleries, West Berlin, Germany
Art Exchange, Australia
Alliance Francaise de Manille
Pinaglabanan Art Galleries, Manila
Cultural Center of the Philippines
Galeria de las Islas, Manila
West Gallery, Manila
Brix Gallery, Manila
The Drawing Room, Manila



Kulay-Diwa Gallery of Philippine Contemporary Art is a privately owned venue for artistic expression. It is strategically located within a cluster of progressive communities South of Manila. It has an independent exhibition area able to accommodate large-scale works, and a spacious garden ideal for outdoor programs, performances and sculpture installations.

Goals of Kulay-Diwa

To discover and promote the works of talented, young and deserving Filipino Artist;

To serve as a cultural outpost and make the arts more accessible to the fast-growing communities South of Manila; and

To foster cultural interaction and exchanges with the local regions and other countries.

Kulay(Color)

Diwa(Spirit, Thought)



Available artworks:

Note: other works in oil are available upon request.

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