“Art is synonymous with breath of life; it is a fundamental act that permeates the core of human existence.” – H. Pineda

Herminigildo “Hermie” Pineda believes in the transcendentality of artmaking. For him, this creative act is immersed in the philosophy of the cyclic phenomenon governing nature and the universe. Human beings are given the power to forge their destiny through sheer force of intellect and willpower. They are capable of shaping their physical, social, and political world. But these occurrences transpire under the universal law of causality and the axiom of nature. Any deviation has corresponding and incremental repercussions.

Pineda’s oeuvre addresses these thematic concepts in several ways: as iconographic depictions symbolizing human ideals, or as mythical allusions purporting the canon of natural environment. Possessing the mastery and technical capability of depicting figuration either realistically or through abstraction as painting, mixed media art, or sculpture, he tackles various aspects of a given theme diversely.

The dual narrative of ‘mother’ as creator and ‘mother’ as nurturer is explored in the low-relief sand and paint pigment mixed media art “ Indung Ibatan ” (2012). Pineda situated five human forms enclosed within the perimeter of circular framework. Two facial features representing a tranquil Mother Nature in repose are seen extruding from the picture plane. Immediately below are renditions of two bare-torsoed male figures paying homage to the giver of life. The hands reaching out to each other signify the male-female bond that created the slumbering child. And at the centre of the forms are two fused triangles emblematic of the merging into one of man and woman’s souls.

In his G.S.I.S. National Art Competition non-representational winning piece “Magkikita Tayo Muli” (2016), he utilized horizontal bisection of space using linear elements to project horizons. The multi-layered landscape with predominant blue, green, and yellow hues highlighted by crimson streaks and hints of vertical linear elements at the edges evoke the desolateness of spirit intimated by separation. Yet, there is some semblance of hope when paths intersect again as an omen of renewal and transformation.

Pineda’s current work “Interface” (2020) explores the realm of digital-referenced art arena. His pixelated format amidst black background presupposes cosmic architecture exhibiting binary configuration of white rectangles and yellow lines. Inter-dimensionality is suggested as overlapping spatial surfaces are perceived by the viewer. There are also noticeable areas of convergence as the elemental forms intersect each other.

Herminigildo Pineda is a two-time recipient of the Government Service Insurance System (G.S.I.S.) National Art Competition Award bagging 3rd place in 2016. He is a four-time finalist at the Philippine Art Award (P.A.A.) National Art Competition, an awardee at the Metrobank Art and Design Excellence (M.A.D.E.) National Art Competition, and a finalist at the Shell National Student Art Competition. He is also the first place winner at the National Commission for Culture and the Arts (N.C.C.A.) Diwa ng Sining National Art Competition, and 2nd place winner at the Department of Environment and Natural Resources (D.E.N.R.) Art Competition. He is the Philippine representative at the 7th Osaka Triennial International Art Competition in Japan, and the recipient of the Most Outstanding Kapampangan Award (M.O.K.A.) for Arts and Culture (Painting).

He graduated in A.B. Industrial Psychology at the Holy Angel University in Pampanga and was a faculty member of the Social Science Department teaching Humanities, Art Appreciation, History, and Life of Rizal courses for 12 years. He took up MA Art Studies majoring in Art History at the University of the Philippines in Diliman, Quezon City. He also did Cultural Lab Studies on Good Governance at Ateneo De Manila University in Katipunan, Quezon City. – V. Tan Gana