Biyaheng Paete: The Art of Dominic Rubio

Tucked away in an upper floor of The Peninsula Manila is the atelier of Dominic Rubio. The 55-year-old artist from Laguna, whose highly sought-after paintings and sculptures depict old-fashioned, everyday Filipino scenes featuring figures with oversized heads and long necks, sat down with Esquire Philippines to talk about his journey thus far and what he sees on the horizon from his Makati Avenue bay window.

“Hindi ko nga akalaing makakapasok ako dito,” he says. “Dahil Old Manila ang lagi kong ginagawang subject, ang pangarap ko lang noon ay magkaroon ako ng studio sa Escolta o sa Intramuros o di kaya sa Binondo pero dito ako napunta sa mas magandang lokasyon.” At the ground floor of the 50-year-old luxury hotel is a fine dining spot called Old Manila while on the opposite wing of the historic Makati landmark, guests gather for breakfast at a restaurant named Escolta. A painting of Rubio hangs by the entrance. Nothing is coincidence.

“Pinagdasal ko yan,” he says.

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Rubio has come a long way from his native Paete, a town renowned for its local artisans, which traces the origins of its traditional craftsmanship back to our National Hero. “Tumubo na lang yung ganung hanapbuhay doon gawa ni Rizal,” Rubio explains. “Ang kwento doon, si Jose Caancan, yung isa sa pinaka-master sa Paete, manggugupit siya dati ni Rizal. Tinuruan siya ni Rizal mag-ukit. Dun na nagumpisa noong panahon ng mga Kastila na magkaroon ng mga carver sa Paete.”

Neither of Rubio’s parents were into art nor were any of his three siblings. Sculpting was Rubio’s first love and just like most people from his town, it helped make ends meet.

“Noong araw, malakas ang handicrafts at ukit,” he says. “Doon kami kumukuha ng baon. Kahit mga elementary o high school pa lang, kapag pwede ka na humipo, pababayaan ka na ng magulang mo. Gumagawa ako dati ng mga santo. Nawala na yung mga export pero yung ukit na santo andun pa rin. Hangga’t may naniniwala sa santo, hindi mawawala ‘yon.”

A product of the University of Sto. Tomas, Rubio studied Fine Arts and majored in Commercial Arts. “Noong nag-aaral pa ako, paborito ko dati sina (Vicente) Manansala at Cesar Legaspi. Noong mga panahon na iyon, ang gaganda ng mga gawa ni Manny Baldemor. May mga gawa rin nga ako dati na mala-Botong Francisco,” he remembers.

After college, he went on to work for an ad agency. “Nag-umpisa ako maging empleyado sa ahensiya pero gusto ko talagang maging full-time artist. Nasa Puris Lintas pa ako, nagdedevelop na ako ng style ko,” he recounts. “Pag walang ginagawa, nagpipinta ako. May kasama akong easel sa tabi ko.” In 1993, he decided to give up his nine-to-five job after just two years and took a leap of faith to chase his dream. “Sabi ko bahala na kahit walang siguradong sweldo. Gutom kung gutom. May benta o wala, ayoko na ng kinsenas, katapusan.”

Rubio shifted from making sculptures to painting out of necessity. The logistics of peddling his carved creations during those early days was troublesome. They were just too heavy to carry around with him. “Hindi kagaya ng painting, iro-roll mo lang kahit lima, anim hanggang sampu naka-rolyo,” he says.

At the time, Rubio had not yet found his distinct style he is known for today. His early works were so different that even his most devoted patrons probably would not be able to tell that they’re his.

“Dati naglalako pa ako. Simula Makati, nilalakad ko ‘yan hanggang Cubao. Naglalako ako ng artwork sa Edsa. Pagdating ko ng Megamall, aalukin ko lahat ng gallery ‘dun. Pag sinabi kong wala pa akong exhibit, malabo daw,” he recalls. “Nanggigigil ako kapag ginaganon nila ako. Nacha-challenge ako. Sabi ko ‘Antayin ninyo. Akala n’yo titigil ako? Susuko ako? Diyan kayo nagkakamali.’”

His wife Vivian is a strong and steady presence that helped Rubio stay the course. It wasn’t easy being married to a struggling artist while having four children to provide for but behind every great man truly is a woman and Vivian’s support for her husband’s craft has been vital.

“Minsan walang pambili ng gatas,” he says. “Nagtitinda siya noon ng Tupperware at ng tsinelas. Sabi niya ‘ituloy mo lang ang pagpipinta mo.’ Kung anu-ano ang pinasok namin. Naglako kami ng longganisa, gumawa kami ng polvoron, nag-karinderia kami, ang dami naming pinasok.” Raising their three daughters Maya, Mayumi and Makiling and son Araw provided more than enough motivation for the artist to succeed. Rubio interestingly shares these past hardships with unmistakable pride. “Mas magandang may struggle para maganda ang kwento,” he points out.

He experimented with hyperrealism, abstract, and surrealism but none of these clicked with the collectors. It was around the turn of the millennium when Rubio met Jack Teotico. Unbeknownst to either of them at the time, they would alter each other’s lives irrevocably.

“Napansin niya yung gawa ko. Wala pang Galerie Joaquin siya noon. Nakiki-exhibit lang kami sa ibang mga gallery. Doon kami nag-umpisa,” he remembers. Teotico took care of managing as well as marketing Rubio and his work. It was no overnight success.

“Mahaba yung preparasyon. Noong nagtiwala siya sa akin sa first exhibit ko, parang napakarami ko pang bigas na kakainin,” he recalls. Even with the visionary businessman in his corner, the breakthrough in Rubio’s career they were working towards continued to remain elusive. During those days, he would exhibit 30 to 40 paintings and would only be able to sell one or two. Despite these challenges, the pair kept on going.

“Nagkataon na masipag rin itong si Mr. Teotico. May passion sa art at may mata,” Rubio reflects.  In 2007, Teotico’s Galerie Joaquin held an exhibit in Singapore where Rubio debuted a unique new style featuring characters with unproportionately large heads in very Filipino settings.

“Ni-launch namin sa Singapore. Doon na pumutok yung style ko. Doon ako nagkaroon ng break. Yung iba kong style, ayaw nila tanggapin eh. Gusto lang pala ng mga collector na makapag-exhibit ako sa abroad,” he laughs. “Pagbalik ko rito, nabago na yung buhay ko. Nakabili na ako ng kung anu-ano kasi marami nang bumibili ng artworks ko.”

Rubio describes his style as contemporary but not traditional. Slices of Filipino life back in the day. Unlike other local contemporary artists, he makes it a point to keep the vibe light.

“Yung art ko nagpapaalala lang ng ating kultura kaya ganon yung mga subject na ginagawa ko, pero dinala ko siya sa ibang mundo,” he explains. Rubio’s feel-good works take us back to simpler times with relatable scenes in very familiar settings. “Nag sold-out na ako lagi hanggang sa nakabili na ako ng second-hand na kotse. Nakakuha na rin ako ng condo kaya pag lumuluwas ako ng Maynila, may natutuluyan na ako. Hindi yung uuwi ako sa Paete ng last trip,” he laughs.

Rubio’s work has headlined exhibits in New York, Kuala Lumpur, and Hong Kong among other cities and has been part of  group shows in Spain. He has even painted a mural at the Philippine embassy in Washington D.C. But his biggest show so far was at The Peninsula Manila’s Rigodon Ballroom in March 2020 before the pandemic, which sold out.

“Yung mga gallery owner na dati hindi ako pinapansin, sila na ang nakikiusap minsan. May naghahanap daw sa kanila ng Rubio, baka raw pwede ko silang pagbigyan,” he says with a chuckle.

Oftentimes, success comes at a cost. Keeping up with the growing demand for his works put a strain on the balance with his personal life, his relationship with Teotico, and more importantly, his health. After pushing himself to the limit, Rubio suffered a heart attack around 11 years ago.

“Sobrang naging business na. Parang naging manggagawa ka na. Hindi ka na makapahinga,” he shares. “Meron kang gustong ibang gawing artwork pero hindi mo magawa. Kaya nga ako nagkasakit sa puso dahil diyan. Inatake ako sa puso nung 44 ako.”

The artist felt that he needed to recalibrate and find a more sustainable way to create his treasured pieces and still be healthy and live long enough to enjoy his accomplishments. “Kailangan masaya ka sa ginagawa mo. Minsan kasi kahit na gaano kaganda yung subject na pinaguusapan nyo, kung nasasakal ka na, hindi ka mage-enjoy,” Rubio points out. “Mas maganda yung malaya ka at walang control ng kahit sinong nagpapagawa. Kaya maraming artist ang nagkakaroon ng depression.” He does acknowledge how much of a help it was having Teotico and Galerie Joaquin in his corner. “Parang Manny Pacquiao. Magaling siyang sumuntok pero hindi magtatagumpay kung wala siyang Freddie Roach. Inaamin ko naman yon. Hindi magtatagumpay yung Rubio kung walang Jack Teotico,” he says.

Rubio now reaps the hard work he has sown. He goes home to Paete every week where he has a sprawling 12-hectare farm with a stunning view of Laguna Lake in stark contrast to the old brutalist Makati office buildings across the street and Ayala Avenue traffic he sees from his studio every day.

“Farming yung isang libangan ko ngayon. Minsan, kahit gabi umaakyat ako,” he shares. “Pag nabu-burnout ako, umaakyat ako dun, nagkakape ako at pinapanood ko lang yung city lights.” It’s about a three-hour drive from Manila in his BMW X5 M. The probinsyano in him refuses to let success get to his head and going home to Laguna as often as he can helps keep him grounded.

“God is good. Siya naman ang nagbigay nito pero ayoko masyadong isipin kasi baka magkaroon ako ng rockstar syndrome. Lahat ng mga luma kong kaibigan, pinupuntahan ko pa rin hanggang ngayon,” says Rubio. “Lahat ng mga artist na kaibigan ko, binibilhan namin kaya nga nagtayo ng gallery yung wife ko para masuportahan ang mga artist.”

What he is most proud of is having been able to provide his children with quality education. “Sa magandang eskwelahan ko na napag-aral yung mga anak ko. Utang na loob ko iyon sa Galerie Joaquin na nakapagpaaral ako ng tama. Hindi ko kailangang yumaman ng husto. Kahit man lang mapatapos ko yung mga anak ko,” he shares. “Gusto ko madaanan rin nila kahit paano yung napagdaanan ko. Kailangan may kaunting struggle. Walang kwenta pag instant.”  

His relationship with The Peninsula Manila is going on its third year and the artist is grateful for his current address. More importantly, he is thankful for the opportunity to be able to continue doing what he does, now enjoying the freedom of being independent.

“Nakakapagpahinga na rin ng tama,” he says. “Gusto ko lang talaga lumaya. Gusto ko mag-grow at magawa ko yung gusto ko. Hindi yung kung ano yung pinakamabenta, yun yung gagawin.”

After having felt his creativity being held back and the pressure to produce art on a demanding schedule was something he could not keep up with anymore, breaking free and going on his own felt like the right thing to do although he recognizes the role his former home has played in his story. “Doon ako sumikat at nakilala pero kasama sa bagong journey ko ang wala na ako sa Galerie Joaquin,” Rubio reflects. “Siyempre mahirap din maka-move on pero masaya ako sa ginagawa ko ngayon na malaya ako. Bahala na si Lord sa aking panibagong yugto ng buhay.”

Wrapping up our visit to his Peninsula Manila studio, what is palpable is how much he is at peace with decisions that have led him to where he is today. “Wala akong pinagsisisihan pero meron akong mga pinanghihinayangan,” he intimates. With the rest of his story still yet to be written, nothing is coincidence nor is anything impossible. Even for fractured friendships that need mending.

Next up for Rubio is the Dubai International Art Fair in April as well as an exhibit in collaboration with the Rotary Club also this year. Through all these changes, the artist is grateful to the collectors and art fans that continue to follow and support his work. “Thank you sa kanila na sinusuportahan nila ako hanggang ngayon. Wala naman ako dito kung hindi dahil sa kanila,” he says. “Sana ma-enjoy pa nila ang mga susunod kong ilalabas.”