This artist grew up being exposed to the artworks of his famous father and the rich cultural and social milieu of a fast-changing town-turned-city that is Malabon. His creativity may be innate, but his search for inspiration remains an ongoing part of his identity and growth.
By JOYCE REYES-AGUILA
World-renowned sculptor Michael Cacnio was three years old when he first had an awareness of beauty through the arts. The family home was filled with paintings, and he was naturally drawn to the creative pieces in his surroundings.
“Our house was my world,” he recalls in Filipino to PeopleAsia. “My dad [Angel Cacnio] was a well-known artist. He had a studio in our basement where there were materials like paper and paint. I started doodling there. I would see my dad’s work and I’d dissect it. He taught me art, about proportions in the two-dimensional form.”
The elder Cacnio was a distinguished painter who designed the P20 and P100 bills currently in circulation, and the 25- and 50-centavo coins in the early 1980s.
Genesis of an artist
Michael’s appreciation of the arts evolved between the ages of five and seven, when a godmother gifted him with a Lego set. “It opened me to the three-dimensional form,” he explains. “Legos are in primary colors so it started my fascination with the sharpness of color.”
Years later, the younger Cacnio found himself under the tutelage of artists at the College of Fine Arts of the University of the Philippines (UP)-Diliman who would, aside from his dad, eventually become his greatest influences.
“National Artists like Dean Jose Joya were my teachers. In sculpture, it was Napoleon Abueva. The university also had books on sculptures where I learned about the works of other great sculptors and painters, including Alberto Giacometti, David Smith and Julio González.”
After completing his degree, Michael extended his studies to focus on sculpture for a year. “I don’t want to be under the shadow of my dad,” he declares. “I thought I could outdo him, but he’s really good in watercolor. I really had to find my own niche and identity.
“I thought that the only way to be an original artist is to go to a different field. That’s why I went into sculpture. I thank God that I made this decision because as a painting major, I was impatient. As a painter, you should know how to create the mood for the art. You should have a subject that can have a dialogue with the viewers. In painting, I was not able to give that full conversation. In sculpture, there’s drama, a mood. At the same time, in every angle, it’s tangible. A sculpture is three-dimensional and every angle of the artwork can converse with you.”
The brass sculptor became known for his pieces that focus on social reality, memories of scenes from his childhood in Malabon. “I loved to play outside as a child,” he shares. “You see this in the themes of my works. My subjects include the games that we played on the streets. I would fly kites, play with spiders and shato (Filipino stick game). I no longer see these games being played because people are now glued to their cellphones. My pastime was to be with friends outside. Now, kids love to stay inside the house.”
The place he grew up in Malabon was very rich in natural elements. It had fish ponds. At the same time, it was well developed and clean. People would really visit the place for its food and events like the Santacruzan. Michael’s artworks now reflect his early encounters in life as a child.
His talent was first seen in art competitions in elementary and high school, where he was often asked to turn in school projects that were art-related.
The artist, who is the first Filipino to have a solo exhibit in the headquarters of the European Commission in Brussels, considers his works as storytellers and instruments to convey messages to his audience. “I rarely see kids who do mano (the Filipino practice kids of taking the hand of an elder and pressing it to their forehead as a sign of respect). So, I have pieces that show this part of our culture. The way I express is to make pieces that express the way I see things from my past.
“I grew up eating taho (local snack made of fresh, soft and sweetened tofu with sago [glutinous pearls]) so I made it a subject of my work,” he says. “I also studied about it and learned how difficult and hard it is to make. So, I want to give importance and respect to the people selling taho. At the same time, I want the next generation to never forget what taho is.”
Balloons have also been recurring elements in his sculptures. “I think I only got balloons for my seventh birthday, while other kids had it every week after Sunday Mass,” he relates. “I realized balloons really did not cost a lot, but when I was young, it seemed so hard to get one. The colors of the balloons sparked my attention. There are also a lot of games you can do with them. A few days after you buy them, you can play basketball or volleyball with them. When it’s deflated, you can put water in it. It’s happiness. It’s a celebration.”
Michael also has works that feature kites, his favorite toy as a child. He recalls making kites from scratch using old newspapers, walis tingting (native broomstick), fabric scraps and leftover rice as glue. “When you fly a kite you made yourself, it’s a big, rewarding achievement because of the perseverance and patience that it took to make one,” he says.
Michael’s later achievement didn’t go unnoticed. He was one of the 10 Outstanding Young Men (TOYM) in 2006. His works have received critical and commercial success in Asia, Europe and North America.
His calling
The sculptor says most of his subjects exude happiness because of his belief that everything God created is meant to make us happy. “I’m a happy person, so this attitude is reflected in my work,” Michael, who is also a pastor, maintains.
“I grew up in a religious family,” he says. “I became a pastor because it’s time to pay back. In school, I was not really able to focus on what was being taught. My focus was really on creating something. I was not good at academics. I believe it was only God who helped me pass my subjects, even in university.
“I really feel God’s presence when I preach and sometimes it brings me to tears. If you read Matthew 6:33, it says sometimes we feel anxious and worry about the small things. God said to put Him first and when you do, everything will follow. So that’s what I did. God gave us two skills: physical and spiritual. My physical gift is my talent as a sculptor. The spiritual is the talent God gave me to be a pastor.”
Through his faith, the artist says he is able to appreciate even the small things, such as the sunlight, and every new day. “The inspiration is coming from what I feel and the gift God gave me to express what I believe in,” he insists. Michael says it takes him two weeks to finish a piece, depending on the size and level of detail. He has a team of two people who help him with welding, grinding and painting. “When I feel something, I am able to easily create,” he reveals. “I can give life to any material. It’s like a calling for me so I really thank God I became a sculptor.”
Sculpture with painting
During the COVID-19 pandemic, Michael developed a new technique: combining painting and sculpture.
“At that time, you worked with the available materials you had,” he remembers. “We were on lockdown, so I kept painting. When we are given talent, we can master it. Practice not only makes us perfect, but improves other aspects of ourselves as well. You have to focus, give time to what you are doing. God will give you the energy to do it.”
He admits that there are times when he needs to focus purely on one piece, where his work area should not be disturbed as much as possible. “We need to sustain our motivation to create,” he says. “It will be intense. But, of course, I’m a family man, so I do have to take calls and all. That’s fine.”
Michael and wife Tess are parents to three children: Jacob, Mateo and Lucas. He enjoys conversations with his sons and in discovering their talent in painting and sculpture. Mateo was the 2022 Grand Awardee in the sculpture category of the Metrobank Art & Design Excellence (MADE) tilt.
“He surprised me during the pandemic when he drew for two weeks and passed for the College of Fine Arts in UP-Diliman,” he reveals. “He inherited my skill. Last year, he had his first solo show and it was sold out. I think he will be like me in the future; he’s also God-fearing. His style is very distinct and unlike my style.”
It’s also through his children that Michael learned about Artificial Intelligence (AI). “One of them said we artists might be at risk. But I am not threatened. It’s an opportunity because I can actually use AI as reference; it can educate me at the same time to improve my art. And for me, what the human mind makes is still different. AI is a man-made thing, so humans are still better and more skilled. I believe that nobody can beat the brain that God gave us. We can surpass the threat of AI. Nothing can surpass the unique and genuine creation of man.”
Another strong belief of the artist: Art is not art when it’s copied. “Where is art there? You did not even think, and are not discovering the gifts you are given. We are all unique, and in art, you have to be original. You have to be distinct. Copying is laziness. When you are discovering your talent, you should not give up. You have to believe in yourself so you can pursue your dreams.”
Michael will put his “recent discovery” on display this August. “It’s a secret, but I can share that I will use metal with something else,” he reveals. “I will have an exhibit in Molito (in Alabang). I did not know that I could combine my metal work with stainless materials and paint. Artists have to innovate and diversify. We need to continuously study, experiment and take risks.
“Being an artist is forever. There’s no retirement,” he says. “Humans keep on discovering, investing. Art preserves time. It evokes stories, history. As we see things that we can capture and express, we can create art.”
Photography by JAR CONCENGCO
Art direction by DEXTER FRANCIS DE VERA
