Naïf Artists tend to explore human feeling and expression through simplicity of subject and technique.
Closely related to (and in many ways a subset of) the broad expanse that is expressionism, the term “naïf art” was popularized as a way of describing the works of Henri Rousseau and was initially a pejorative for an untaught painter.
Consequently, it was considered one of many antitheses of Academicism brought about by the advent of Modernism in the twilight of the 19th century. As such, it is often characterized by whimsy, optimism, brightness and childlike innocence expressed through uncomplicated figurations and fanciful motifs.
It takes an energetic and articulate mind, free from the sense of alienation and antisociety trajectory of Modernism, to see the depth in what is deceptively one-dimensional. In other words, it requires a mindset of innocence and a longing for the utopic (paradise) to understand and appreciate this form.
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It is in this light that one should view naïf artist and expressionist Mario Parial (b. 1944). Classically schooled at the University of Santo Tomas College of Fine Arts, Parial belongs to a generation of expressionists from UST that included the likes of National Artists Ang Kiukok and J. Elizalde Navarro, Leon Pacunayen, Antonio Austria, Angelito Antonio and Norma Belluza.
He is a 1972 Cultural Center of the Philippines Thirteen Artist Awardee and has exhibited in many countries, including Germany, the United States, China, Singapore, Taiwan.
His latest one-man show, “Majore: Mario Parial,” featuring 15 major works done during the past year and a half, will open at Galerie Joaquin at 6:30 p.m. on Oct. 12 and will run until Oct. 26.
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