While at UP, Pilapil had the privilege of studying under professors Anastacio Caedo and Ildefonso Marcelo for sculpture. These two teachers represented a stark contrast in styles—Caedo’s approach was classical, while Marcelo’s leaned towards modern techniques. “I held both of them in high regard. I consider myself fortunate to have had the opportunity to learn from them,” Pilapil says.

After a year at UP, Pilapil took a bold step and applied for a scholarship in Italy. “I was eager to learn and believed the school there would help me refine my skills, explore new techniques and sharpen my artistic instincts,” the artist says.

Her courage brought her to Accademia Italiana in Rome, and she later studied at the Pratt Institute’s graphics centre in New York. “During my time at my school in Rome, classical sculpture was the prevailing tradition. Although it wasn’t particularly to my taste, I acknowledged its merit in providing a strong foundation, including instilling discipline, even if I didn’t find it personally appealing,” she explains.

Pilapil’s creative process, in her own words, is a constant dialogue with the world around her. The monumental abstract works by Spanish sculptor Eduardo Chillida are profound sources of inspiration for her. The architect Kengo Kuma also fuels her creativity and grounds her in skillfully reinterpreting traditional architectural forms, as he has always been known for that.

“I create by appreciating what I see, what stirs my heart and what captures my attention in my surroundings. I consciously avoid pointless conversations and unfulfilling experiences,” Pilapil says.

A collection of materials surrounds Pilapil, which she joyfully observes daily in the comfort of her home. Pilapil admires ancient civilisations and even had a series inspired by the lost kingdom of Atlantis. “It might take a day or even years, but eventually, one or a few of these materials ‘speak’ to me, and this happens consistently over time,” she says. “My creative process involves ongoing dialogues with these materials and the ideas my imagination brings to the table.”

One idea that particularly resonates with her is Rudolf Steiner’s teaching that the state of one’s soul significantly influences the art created. “I like to think that what viewers see and feel when they encounter my art reflects this deep dialogue and connection between myself, the materials and the inner workings of my soul.”

When Pilapil started her career with printmaking, she became part of the World Print Council in the US. Later, she explored glassmaking and sculpture, which gave her global recognition.

“To me, the creative process in sculpture involves four key elements: thought, feel, will and a profound connection with the material. Witnessing this on any sculpture, whether my own or another sculptor’s, determines interest and a great spark of inspiration,” she remarks.

Aside from being publicly displayed at the Ayala Tower One and Washington SyCip Park in Makati and the Rizal Library of the Ateneo de Manila University in Quezon City, among others, Pilapil’s masterpieces also adorn some of the finest houses featured in Tatler Homes Philippines’ previous issues.

“The most crucial factor is whether they [homeowners] resonate with my work,” the multifaceted artist says. “I often assume that those who approach me already have a grasp of what to expect.”

Pilapil believes the choice of artwork depends on whether someone collects art for personal enjoyment or an investment. “Select something that resonates with your instincts and brings daily joy. If it turns out as a wise investment, later on, consider it a pleasant surprise,” she advises her clients.

With her works, Pilapil aims to provide a brief escape to its acquirers. “However fleeting that escape is, as long as it leaves a lasting memory that can be revisited anytime, anywhere,” shares the artist.

In 1974, the Art Association of the Philippines granted Pilapil a citation for being an outstanding artist and later, in 1987, she was hailed as sculptor of the year. The Cultural Center of the Philippines also awarded Pilapil the citation for an outstanding artist in 1975. She was included in the roster of the Thirteen Artists Award in the following year. She also earned accolades in many parts of the world, including Italy, the United Kingdom and more.

She advises her fellow artists contributing to the contemporary art scene today to value silence. “There is an overwhelming cacophony of distractions, ranging from entertainment to food and even art,” she says. “This contemplation takes me back to Kandinsky, the author of the insightful book Concerning the Spiritual in Art, which has been my guiding light since my student days. Kandinsky posited that the human spirit, like the body, requires regular exercise for strength and development. Neglecting either aspect can result in weakness and impotence; without proper attention, the spirit may wither away. Hence, it becomes paramount for artists to pinpoint the starting point for nurturing their spirit, which should serve as the bedrock for creating pure art.”

This November, Pilapil is showcasing a collection of sculptures called the Atlantis Series at the Hans Brumann Art Gallery’s inaugural exhibition on Legaspi Street, where Brumann’s popular jewellery store is. This series marks a continuation of her artistic journey exploring Atlantis and the living forces within stone, a theme from a previous exhibition.

Brumann also invited her to a jewellery exhibition in early December. For decades since 1995, he has been collaborating with Brumann for this event and, since 2005, has been doing it with their friend, National Artist Arturo Luz. This 2023 marks the first time Pilapil continues collaborating without Luz, who passed in 2021. She aims to honour Luz’s memory and celebrate the enduring friendship with the master jeweller by continuing the partnership.

On what art means for her, Pilapil sincerely answers: “Creating from the heart, mind, and spirit allows me to transform what was once a mere imagination into a vivid reality.”

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