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2016-11-24T00:00:00.000Z

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Wrong Ramon Orlina?

Mr. Ramon G. Orlina

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Company Description

Official Website of Ramon G. Orlina, World Renowned Filipino glass sculptor. ... more

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Background Information

Employment History

Galerie Stephanie Inc

Artist

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Affiliations

Founder
Singapore Art Museum

Education

The University of Santo Tomas

architectural degree

University of Santo Tomas

architectural degree

University of Santo Tomas in Manila

Web References (200 Total References)


Contact Info

www.orlina.com [cached]

Ramon G. Orlina Sculptor

Orlina Atelier
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Copyright © Ramon G. Orlina 2002 - 2013


Web Links

www.orlina.com [cached]

For related readings you can also view Ramon Orlina's links in the World Wide Web.

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Receiving the Outstanding Filipino (TOFIL) awards recently were Fr. Marciano "Rocky" G. Evangelista, SDB, Antonio P. Meloto Jr., Socorro G. Ramos and Ramon G. Orlina.
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Evangelista, Meloto, Orlina and Ramos win the 2006 TOFIL Awards
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FATHER MARCIANO "ROCKY" G. EVANGELISTA, SDB, Service - Non-Government Organization; ANTONIO P. MELOTO, JR., Humanitarian Service; RAMON G. ORLINA, Arts; and SOCORRO C. RAMOS, Business...
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Ramon G. Orlina: Reflections of a transparent Life Contemporary Artist
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URBAN ZONE: Art + Home of Ramon Orlina
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UZ is being hosted by Ms. Daphne Osena-Paez, an award-winning television host, magazine editor, style icon and entrepreneur, this lifestyles show features Sculptor Ramon Orlina's house cum atelier with its contemporary design.
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Sculptor Ramon Orlina is not only into glass, he's also into Beetles, stretched Beetles-yes, stretched, like a limousine and was featured in Auto Focus, one of the longest-running motoring programs on local television anchored by Ray Butch Gamboa,Sunshine Television(STV) Chairman and CEO.
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Renowned national artist Ramon Orlina was commissioned by the league to design the special trophy made out of 18 karat gold and worth half a million pesos.
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Not since his major show last year at the Ayala Museum to celebrate his 30th year as a professional artist has Ramon Orlina embarked on a one-man show. He has been content to contribute to group shows and has kept himself busy with numerous local and foreign commissions as well as his family life.
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The winning piece of Orlina was a dazzling white optical glass sculpture called "Silvery Moon".
View link at http://www.vill.toya.hokkaido.jp
Ramon Orlina: Filipino Artist Par Excellance
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A work by Ramon Orlina has fetched a record price at Christie's auction of South East Asian Art in Hong Kong last November 25.
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In the hands of Ramon Orlina, glass becomes the medium of sculpture's quintessence. And in celebrating his 30th year as an artist....
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When asked what his middle initial stands for, Ramon G. Orlina laughingly answered, "Glass! Well, there's no doubt he earned such a name being the firstFilipino to master glass sculpture.
There's only a handful of Filipino artists who use glass as medium. That's because glass, unlike wood is not an easy material to carve. But Orlina proves otherwise and can do more than just carve. He can transform a simple piece of glass into a work of art through months of cutting, reshaping, and polishing.
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Ramon Orlina: 30 years of exquisite glass sculpture
Today, 30 years later, Orlina's passion for glass has only grown stronger, as shown in his anniversary exhibition "Quintessence," on view at the MuseumSpace on the second floor of the Ayala Museum's Glass Wing until November 9.
View link at http://yehey.com/lifestyle/people.aspx?artid=22549
View link at http://www.zoominfo.com/people/Orlina_Ramon_759544289.aspx
Ramon Orlina's translucent life OMNIUM-GATHERUM
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Ramon Orlina is an artist deeply passionate about his art and truly proud of what he has accomplished. Rightfully so.
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Ramon Orlina: I've always liked art.
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Ramon Orlina and His Glass
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RAMON ORLINA and his glass sculptures came into the scene through the emerald aspect of his material. We can recall those pieces that were not unlike an extension of the properties of the jewel, precious and regal.
View link at http://www.businessmirror.com.ph
Kagampan by Ramon Orlina
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Noted glass sculptor, Ramon Orlina, fabricated the ceiling, tabernacle, altar, and the cross at the entrance, the sacristy, and the God the Father image on the dome.
View link at http://greenbelt-chapel.org/history-2/t
Singapore Public Art
Fertile Crescent, Ramon Orlina, 1986
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Copyright © Ramon G. Orlina 2002 - 2013


Each awardee will receive a cash ...

aweb.ateneo.net [cached]

Each awardee will receive a cash prize, a glass trophy by artist Ramon Orlina, a certificate, a plaque of recognition, and a set of Time Life Illustrated Encyclopedia of the Science and Nature.


Business Mirror - A broader look at today's business - Life

www.orlina.com [cached]

Ramon Orlina and his Glass

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RAMON ORLINA and his glass sculptures came into the scene through the emerald aspect of his material.
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Orlina is an architect, having finished a degree in that field from University of Santo Tomas. His first job could have been with Republic Glass, now Asahi Glass. Then, he was doing some paintings on glass. The company had given him a pleasant offer that would have taken him abroad and provided him with more training in the technology and industry of glass. But Orlina was not really interested in working in a company on glass, as he was keen about working with glass itself.
He was able to secure an arrangement with Republic Glass that enabled him to have access to residual cullets, materials gathered when the furnaces were cleaned.
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In the prestigious Toyamura International Biennale in Hokkaido, Japan, Orlina remembers now how his work was lauded not only by the critics but by the community itself. Touring the site, he came upon a park filled with statuaries and carvings. The town itself was a museum of sculptures and his work Silvery Moon cast a magic upon the population used to seeing works of art and confident about their own aesthetics and standards.
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It is the potency of his art that even when depicting a physically inert phenomenon or idea like the number 8, Orlina imbues the figure with the continuous sumi-e-like dynamics of an ink-stroke. In his version, the number has become Double-Eight, an affecting sequence in a popular belief system. You just don't watch this piece, you follow its trail and allow yourself to wander into its Henry Mooreish "holes. I do not call them holes; I call them decorative spaces or gaps, similar to those found in African anthropomorphic figures, which evidently influenced also Henry Moore.
Orlina also has this classic character in Japanese arts, that which is called mono-no-aware.
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With Orlina, you look at his piece and you are granted a return, very much like what Neruda said: When I returned from so many journeys/I stayed suspended and green/between sun and geography. In glass, Orlina allows us to fly between the light that moves us and the earth that assures us we can be still. Even as a sculptor he reminds us he is still the architect summoning us to look inside the pieces the way we do with model houses, and there find both the reflection and the destination of light.
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RAMON ORLINA and his glass sculptures came into the scene through the emerald aspect of his material.


The Magic of Carved Glass

www.orlina.com [cached]

Internationally acclaimed for his sculpture in carved glass, Filipino artist Ramon Orlina continues to reveal new possibilities in the glass medium. Though trained as an architect, he did not hesitate to follow his artistic impulses that drew him to glass which he considers as perfect material for sculpture.

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It is to be noted that Ramon Orlina (b. 1944, Manila) developed his particular approach and technique on his own. The majority of glass artists in the United States and Europe work with hot glass which involves blowing the molten substance into shape in a blazing furnace. In the tradition of Murano in Italy, the refined technique of glassblowing produces exquisite multi-hued vases and receptacles. However, some artists, while working within this tradition, create sculptural form out of the layering and texturing of elements in striking configurations. Then, too, there are the glass artists who use cold casting or molding processes to create sculptural form, such as the Czech glass artists in Bratislava.
In mid-1975 when Orlina first became active as an artist working in the glass medium, his work was divided between paintings on plate glass of which he had two exhibits and glass mural installations, such as Arcanum at the Manila Hotel. While these gave him immense artistic satisfaction, he decided to go fully into carved glass sculpture starting with his 1980 one-man show, Prismatic Glass Sculpture at the City Gallery in Manila. To be sure, this show was a unique and fascinating experience, being the first of its kind using glass as a three-dimensional medium. Basically, his art involves a reductive process of direct carving on the raw, irregularly shaped blocks in green tones because of the high silica content of the industrial material. But unlike sculptors of wood or stone, he does not work on the material with a chisel: instead, he uses grinding tools and abrasive powders to give it shape, as in jade sculpture. Orlina obtains his cullets from the industrial residues of Republic Glass, a company which produces sheet glass and with which he enjoys a special arrangement.
It was in his 1980 show that he came to grasp the principles of making carved glass sculpture. Here the pieces, guided by the principle of faceting, were marked by a freshness and classical simplicity in their clear emerald green hues reflecting the light and tonal patterns of the environment. Cubist in form, they played on the interaction of geometric volumes in varying relationships to each other, with each work to be viewed from all angles and with generally no fixed base.
At the same time, Orlina's architectural training was put to use in a number of commissioned works in which sculpture was integrated into an architectural context. The first of these, completed in 1983, consisted of four glass works installed in the Greenbelt Lagoon Chapel in Ayala, Makati: the Dove of Peace, 8 meters high, made of concrete and glass portals; the Mudras Cross, a sculpture 10 meters high made of concrete and glass; a Tabernacle Altar made of glass and narra wood, and God the Father, a plexiglass dome ceiling 5 meters in diameter. Also drawing from his structural expertise was a unique metal sculpture, Wings of Victory (1986) made of 671 meter-length birds done for the 8-storey atrium of the Wisma Atrias in Orchard Road in Singapore. Another work in Singapore is Fertile Crescent (1986), five meters high, consisting of four meters of sculpted glass and stainless steel, installed at the Marina Park of the Singapore Indoor Stadium. Ten years later, in 1996, Orlina would be commissioned by the Singapore Museum of Art to set up a window installation, Quintessence, a work 3m 90 cm x 2m 10cm (13, x 7,) made of a myriad glass facets with a superimposed curvilinear design in bronze, the entire work in the form of a pointed arch framed by a bronze lining. The clear blue-green facets of glass at varying angles to each other produce a brilliant prismatic effect unified by the dynamic swirling design. As a glass work which doubles as a window, its tones are continually modified by the changing light of the outdoors during the day and the by the light of the suspended chandeliers of the hall in the evening.
The decade of the 1980s saw the full flourishing of Orlina's art enriched by travels to international centers of glass art. The first of these was a study grant and tour of glass studios from the Czech Ministry of Culture in the course of which he visited the ateliers of the well-known glass artists Libensky, Hlava, and Soukup. This marked his first occasion to meet fellow glass artists in their own country, especially since Czechoslovakia has a long tradition of glass art. Their collegial encouragement and support inspired Orlina to bring out the full potential of his art. In the United States, Orlina went on an observation tour of Steuben Glass in Corning, New York and met with Dale Chihuly, associated with the Museum of International Glass in Tacoma.
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Although Orlina has maintained his own individual approach, he has been in touch through the years with these centers of glass art through tour programs, exhibitions, and international competitions.
Thus, on a highly optimistic note, he came up with his Naesa Series in 1988 which opened at the Lopez Museum Gallery in Manila and subsequently toured Kuala Lumpur and Singapore. The two major series, Naesa (ASEAN spelled backwards) Series, and the subsequent Ningning (Filipino word for "sparkle") were inspired by familial themes such as motherhood and the bringing up of his two young daughters. Thus, in celebration of the human form, his sculptures, formerly cubistic, became softly rounded and mellifluous, sensuous and erotic, in the female torsos and breasts.
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Ramon Orlina held a major show, A Touch of Glass, at the Grand Hyatt in Hongkong in 1993. Already an established artist in carved glass, he was able to access a wider range of materials. While he still mainly works in green cullets from his original source, this show found him branching out into other kinds of glass: black glass and lead crystal in vibrant colors supplied by the famed Swarovski of Austria. Enthralled by the crystalline hues, Orlina produced as many as twenty-nine pieces for this particular show, nearly half of that number in Swarovski crystal. According to him, lead crystal is easier to cut because it is denser than glass but more difficult to polish, whereas glass requires greater care in cutting because of its brittleness. The sculptures of these series are abstract forms, often with figurative allusions, as their titles, such as Multivision Nude, Red Madonna, Aphrodite, Feminine Mystique, suggest. He elaborates upon the biomorphic imagery of the Naesa and Ningning Series inspired by the female figure as it continually changes and unfolds, revealing the play of inner and outer, concave and convex elements in a harmonious whole.
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Up to the present, Orlina considers his participation in international competitions as a way of keeping his art on par with rigorous international standards and of testing his mettle with the world's foremost sculptors not only in glass but in all media. Although he finds this a great challenge, Orlina's personality is such that he attains his objectives with an affable ease and nary a strident note. In 1994, his entry Pegasus won another international award, this time as Finalist of the Suntory Prize, on the theme of Challenges of Form.
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Copyright © Ramon G. Orlina 2002 - 2010

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