A Profile
"I have witnessed how his art as a photographer continues to evolve, from the now iconic and powerful imagery of the Kuraldal photo, to his series of portraits of Capampangan women done in his impressiography style, to his latest ouvres on thought-provoking flagellants walking along the streets of New York that for me evokes the intricacies of identity in Filipino diaspora."
I SORT of have a love-hate relationship with Ruston Banal Jr., but at the end of the day, I realize that he is my brother within the close-knit family of arts and culture workers in Pampanga. I remember that I started speaking to him again when I saw him last year in Sasmuan’s Kuraldal, I don’t even remember now why we stopped speaking in the first place. Maybe I’m just being his little sister pretending to be a brat. But one thing is for sure, I will always be proud of his achievements, not only as a friend but as a Capampangan.
2014 has been a banner year for Kuya Ton in harvesting awards here and there. There, in this sense, meaning foreign shores. He has indeed come full circle in becoming an award-winning photographer and visual artist of international acclaim, from the United States to Europe. His achievements have been acknowledged by no less than his esteemed alma mater, the University of the Philippines, where he graduated with Latin honors. ( Check out the letter of UP President Alfredo Pascual to Ruston Banal about winning the Photo Awards competition: Link )
He is off to a good start this year with his latest recognition as an artist of national importance to the Filipinos, not yet as a National Artist, but as one of the Ani ng Dangal ng Bayan honorees of the National Commission for the Culture and the Arts. Ani ng Dangal ng Bayan is an award that is usually given by the NCCA for Filipino artists who have excelled in their fields and brought honor to the country in the international arena. This year’s awarding is slated for February 12, possibly one of the highlights of the National Arts Month festivities.
I have witnessed how his art as a photographer continues to evolve, from the now iconic and powerful imagery of the Kuraldal photo to his series of portraits of Capampangan women done in his impressiography style, to his latest ouvres on thought-provoking flagellants walking along the streets of New York that for me evokes the intricacies of identity in Filipino diaspora.
He has also significantly contributed to the fledgling Capampangan film industry as a cinematographer and producer of note. He was once one of the pillars behind the now-defunct The Film Academy of Pampanga, a noble idea that perhaps was too early for our time then.
While his art persistently reinvents itself and while he continues to carve a niche of his own in the art scene, one constant element remains. Kuya Ton remains grounded in his Capampangan roots and heritage. Betis roots and heritage even. His advocacies for the promotion of arts and culture in Pampanga and of Capampangans speak of these.
His confidence has been misconstrued for arrogance. His pioneering spirit has been misinterpreted for braggadocio. He does not aim to please with his art. He breathes and lives it. Not only is Ruston Banal on a roll, he is here to make waves.
Luid ca, Kuya Ton!
Sunstar Pampanga
Written by Ching Pangilinan
Jan 23, 2015, 2:04 pm
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