Blending faith and art, one Tacloban-based ecclesiastical artist has spent his life creating works that evoke wonder and reflect an unshakable belief.
Driven by a unique artistic perspective, his path showcases how one deep passion can transform into a vocation that touches the hearts and spirits of numerous individuals, all while remaining solidly anchored on a spiritual basis.
In the captivating world of this artist, the sacred and the beautiful exist in perfect harmony. Whether an illuminated manuscript, a well-carved sculpture, or an icon, each artwork reflects a profound understanding of religious narrative and inspires awe.
They are more than mere creations; they are visual prayers and tangible expressions of faith that promote self-reflection and deepen one's relationship with God. In a world where the sacred and the artistic intertwine, the works of this ecclesiastical artist stand as living testaments to faith, creativity, and devotion.
For 26-year-old Peter Julian Gomez Barrantes, also known as Kuya Yanz, his early involvement as an altar server at the Blessed Sacrament Parish was more than just service; it paved the way to becoming a devoted ecclesiastical artist.
Interestingly, Kuya Yanz's creative journey began as a subtle inclination in his early years.
Even as a child, he was drawn to colorful pens, markers, and ballpoint pens, exploring colors and shapes in a way that hinted at his budding talent. His parents recognized this passion early on.
His participation in the art club at his Catholic elementary school further developed his innate creativity and cultivated a creative mindset. Outside the classroom, his religious grandmother also significantly influenced his artistic path.
She often brought young Yanz to serve and attend Mass as a constant presence in the Church. These early introductions to the sacred environment exposed him to the profound beauty of religious images and statues, leaving a lasting impression.
This visual experience instilled a personal interest that matured into "pagsasanto," an intense respect and collection of religious iconography.
By high school, this interest had grown into active creation, as he began employing his artistic abilities in creating and repairing statues. During this time, he keenly observed a pressing need within the Archdiocese of Palo: a shortage of dedicated ecclesiastical artists skilled in repairing and creating religious artifacts.
In Tacloban, he noted, there were only two "encarnadors" – a Spanish term signifying those who "give life" to religious images, primarily through painting – a role he now embodies.
Observing the often-neglected state of religious images, particularly in their barangay chapel, a sense of volunteerism stirred within him. Without seeking a commission, he took it upon himself to restore these cherished pieces.
The pandemic of 2020 served as a pivotal moment, prompting him to turn his passion into a more formal endeavor. Recognizing the ongoing need, he began accepting commissions, transforming his dedicated artistry into a significant source of income, further solidifying his role as a vital ecclesiastical artist within the Archdiocese.
Among the many ecclesiastical artists in the city, one stood out for receiving a particularly significant honor and immense responsibility: the delicate restoration of the original image of Tacloban City's revered patron saint, Sto. Niño de Tacloban El Capitan.
For Kuya Yanz, this commission held deep personal meaning. His family had been devout followers for as long as he could remember, faithfully attending every procession and novena mass during the annual fiesta. The opportunity to be entrusted with the care of the original, miraculous image – a lineage believed to trace back to 1889 – was a privilege he had never dared to dream of.
Materials and refined technique
The tangible beauty of Kuya Yanz's creations comes from his meticulous understanding of materials and his refined technique. Preferring the accessibility and versatility of acrylic or latex paint, he often uses these for the main body of statues and sculptures, particularly those featuring complex carvings.
Before applying color, he first coats the surface with a layer of lacquer paint, serving as a vital adhesive primer. While acrylics and latex form the foundation of many works, Kuya Yanz considers oil paint as his most significant investment, choosing its deeper, more vivid hues for commissions that call for heightened realism.
The process begins with a careful assessment. Kuya Yanz meticulously inspects a statue before restoration, often facing layers of old paint requiring painstaking scraping. Sanding ensures a smooth surface. Wooden statues are varnished, while resin images proceed to the lacquer primer. Painting begins with the body, followed by the intricate details of the face.
Kuya Yanz distinguishes between fully sculpted images and simpler frames for real cloth robes. Finishing touches depend on client preferences, ranging from matte to color-preserving agents. He also offers accessories upon request.
A common challenge is damage, particularly to the fingers, which is often connected to folk beliefs. In spite of these challenges, Kuya Yanz takes great care in ensuring historical and theological accuracy in his work, seeing ecclesiastical art as a visual catechism. Thorough research into the saint's history is crucial, using sources like the Catechism of the Catholic Church. For example, a saint holding a palm leaf signifies martyrdom.
Ecclesiastical artist
For Kuya Yanz, the role of an ecclesiastical artist goes well beyond creating beauty; it reaches into the core of the Church itself.
"Art is the soul of the church," he asserts, highlighting its role as a visual medium connecting the divine and earthly realms, fostering a deeper connection for devotees. He hopes to promote ecclesiastical art to cultivate tremendous respect for the saints and encourage investment in genuine, superior religious imagery, believing that its beauty reflects the beauty of God. While acknowledging the cost, the emotional reward is immeasurable, especially when his artwork becomes a community's treasured patronage image, strengthening their shared faith. He illustrates this with the impact of restoring a dilapidated image, contrasting it with the reverence evoked by a well-cared-for one.
When asked about preserving religious and cultural traditions, Kuya Yanz affirms their vital role. He emphasizes the link between a community's cultural identity and the image of their patron saint, especially historical ones. Restoring these artifacts preserves heritage. He also explores the emotional and spiritual bond, mentioning "Uncion Sagrada," a quality an artist can imbue, fostering a deeper connection during prayer through lifelike details. Ultimately, these images convey the sacred, deserving veneration, creating a tangible link between religion and art.
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