For over four decades, Carlo Magno has been a fixture in the Philippine art scene, known for a signature style that balances the tangible with the ethereal. In his recently concluded exhibit, “Beyond the Muse,” Carlo celebrated his 40-year career by presenting a collection of 40 original artworks that do more than just showcase his technical mastery. They served as a definitive reclaiming of the Filipino narrative.

Gone are the days of the “dalagang bukid” as a mere passive symbol of the Filipina. Carlo meticulously dismantled the archetype of the silent, static muse in his collection.

The central thesis of “Beyond the Muse” is a deliberate departure from traditional portraiture. Historically, the Filipina has often been depicted as a passive symbol of demure beauty or romanticized grace. Carlo, however, propelled his subjects into the role of the active, formidable protagonist.

Carlo’s technique in this series, comprising 18x18-inch mixed media on canvas, fused figurative elements with vibrant abstract expressions, creating tension between the recognizable form and the chaotic beauty of the inner world.

“Untitled I” and “Untitled II” showcased a heavy, tactile use of impasto and palette knife work. In “Untitled II,” a woman in profile is swathed in a cloak of brilliant yellows and deep reds, her pensive expression anchored by geometric shapes that suggest a complex internal structure. The figures are not merely painted on canvas; they seem to emerge from it, wrapped in layers of paint that suggest a protective, yet fiery, emotional armor.

“Untitled III” presented a subject in a traditional white attire, but her posture is far from submissive. Carlo portrayed her as an active, formidable protagonist, her presence commanding the space even amid the fractured, jewel-toned background.

In “Untitled IV,” we saw a woman in profile, her features rendered with a delicate, classical precision that is suddenly interrupted by electric streaks of teal and cobalt. It used abstract bursts of color, specifically deep blues and teals, to create a sense of movement, suggesting that these subjects are in a constant state of becoming.

Carlo was clear about his intent: The exhibit is a celebration of the unconventional Filipina. Each piece in the exhibit featured her resilience. His subjects were characterized by confident poses and a refusal to be confined to silent, static representations. By stripping away the layers of conventional portrayal, he unveiled the powerful narratives that lie beneath the surface.

“Beyond the Muse” was a journey that has transitioned from the external world to the internal, resulting in a series that was as much about the artist’s growth as it was about the evolution of his subject. In this exhibit, Carlo proved that beauty is most compelling when it is paired with defiance. The “muse” has finally stepped out from the shadows of the frame, and she has much to say.