By Hannah Jo Uy Images by Pinggot Zulueta “The sculpture tells me what it wants to be,” says Daniel de la Cruz, when asked about his creative process. Over the years and throughout his illustrious career, de la Cruz has championed spontaneity, communicating with the material and being fully present to unleash the raw potential of each substance. “Although I may have a general idea,” he says, “of what the sculpture should look like, the work morphs and develops as the sculpture progresses.” In the process of creation, dela Cruz says, ideas flood into his mind, adding new layers of meaning to the piece. He describes the experience as “very organic and more impulsive.” Not one to rest on his laurels, de la Cruz is relentless in exploring new worlds from within. What drives him is the desire to constantly challenge himself “artistically, technically, and intellectually.” I believe that true creativity is a never-ending process of learning,” he says. The learning, which he embarks on, reveals itself in the awe-inspiring slew of exhibits that are new dimensions of the artist. “It is this constant struggle to have new ideas and develop new concepts for shows that feeds my creative juices and challenges me to do better,” he admits. “It is very easy to fall into the temptation of finding ‘formulas’ that I know are commercially viable, but I feel that I owe it to myself and to my collectors to always bring something totally new to the table.” Now over just a decade in his artistic journey, de la Cruz says the most important evolution he has experienced is developing a sense of confidence and freedom. “Each new exhibit I hold is like jumping off a cliff,” he says. “I never really know how people will receive the new collection. It is a hit-and-miss but one that is worth the risk.” In addition to constantly challenging himself, de la Cruz is also committed to challenging audiences, both viewers and collectors, to accompany him on his journey by purporting themes, ideas, and concepts of a wide range and which greatly vary from one another. “It is a source of pride and satisfaction for me, to see that people still appreciate and follow my work,” he says. Nowadays, the exhibits of de la Cruz are immersive, going far beyond a mere display of individual sculptures and pieces. They are presented as a whole narrative structure that provides a more vibrant, interactive experience. “I always try to bring the viewers into what I call the world of the sculptures,” he says. “Walking into my exhibit should be a full sensory and experiential visit. To achieve this I have gone into the use of sound, music, lighting, and even videos.” Each exhibit, for de la Cruz, carries deeply personal themes that provide a “glimpse into his personality and way of thinking.” To cite an example, he points to his December 2016 show with Art Cube “Existence is Elsewhere,” which, he describes as going back to his roots as a philosophy major at the University of the Philippines. “It was an exploration of my inner self, a journey of introspection,” and his 2017 exhibit, “Within” was thoughtful exploration of “the world of dreams.” De la Cruz is greeting 2018 with a well-received show entitled “Imaginarium,” featured as part of the most recent Art Fair Philippines. For de la Cruz, the collection showcased his more playful side, highlighting his less serious, more fun approach toward art. “It is a reminder that magic, fantasy, and wonder still have a very important place in this world,” he says. In “Imaginarium,” de la Cruz seduces viewers into a new world. The sculptures, the design of the booth, and the music create an ambiance that ushers people into a different reality, an entirely new world of the artist's own making. “If upon entering and viewing the exhibit I manage to give the people a moment of disbelief or a feeling of wonder and even disorientation then I was successful in my goal,” he says. Imagination is let loose in this world, everything is upside down, a wonderland that begs us to question what we know and break free from the confines of our nominal understanding of the world. More than anything, the show is a reminder of the freedom inherent in our own minds. Central to the show, however, is “House of Cards Redeemed,” a work that serves as the artist’s modern translation of “The Last Supper.” “For where imagination sets our minds free,” he shares, “the one true reality above all is that the sacrifice of Christ is, ultimately, our true salvation.” For de la Cruz, being an artist is beyond skill and technical proficiency. As his experience in philosophy invariably leads him to deep thought, de la Cruz believes that art is not merely visual but, rather, a rigorous emotional and mental undertaking emphasizing that “Art, for me, is the working together of the hands and mind to create objects, which connect and communicate with people.”