Vicente’s Vicarious Vision - By Ameena

Written By: Ameena

Category: Interpretative Art Essay

Competition: Global Poetry and Creative Writing Competition 2026

Ameena presents "Vicente’s Vicarious Vision," an insightful essay into the world of interpretative art, specifically focusing on the influential movement of Transparent Cubism. Within the Global Poetry and Creative Writing Competition 2026, Ameena delves into the profound themes encapsulated by Filipino painter Vicente Manansala. Her work sheds light on how Manansala's unique vision not only created a new dimension in art but also emphasized the beauty found within imperfections.

About the Work

Ameena's essay explores the intricate layers of Transparent Cubism as pioneered by Vicente Manansala. Through detailed analysis, the essay reveals how Manansala's work, such as the painting "Beggars," communicates powerful messages about societal realities. Ameena captures the essence of Manansala’s technique, where blending shapes reflect the complex tapestry of human emotion and social issues. Her piece invites readers to perceive art as a medium for profound storytelling and truth.

Vicente’s Vicarious Vision

Original Submission by Ameena

“Vicente’s Vicarious Vision”

A cube is a three-dimensional figure with six faces, eight vertices, and twelve edges. One simple figure resulted in proficient painters creating another opportunity to further define the meaning of their artworks. To them, this shape could be seen as a technique that forms a beautiful illusion—an illusion that suggests true beauty is found in imperfections. In Cubism, objects appearing to be broken and fragmented glass pieces are also artworks that can carry deep interpretation through just a keen eye. When Cubism was created in 1907, painters continued to recognize this as a powerful movement, but Vicente Manansala did not want the journey of Cubism to abruptly end there.

Vicente Silva Manansala was a Filipino painter, illustrator, and creative mentor born in 1910 to his parents, Perfecto Manansala and Engracia Silva. Born under those names alone, it was no doubt that he would lead an artistic life of perfectionism and grace. As a child, he was just seen as the son of the roadside barber, trying to get by. Putting his artistic dreams aside, he worked as a local newsboy handing out copies of newspapers to passersby that would often turn their unbothered heads away, and as a shoeshine boy who roughly earned a dollar for every glimmering sparkle a cleaned black shoe made. But he wanted heads to turn—not because of interesting information printed on black ink, but because of vivid hues of images. He did not want to see the sparks of a black shoe, but he wanted to see sparks that formed through the bright smile he could make when people understood the deep meanings of each of his creations. And so, amidst the hardships, he aspired to craft at an early age, starting from the very beginning by creating kites to play with and taking on a small job as a billboard painter, desiring that the world could see the universe in his eyes.

Like all painters, he created a different universe through his painting: Beggars, 1971. The universe that he wanted everyone to see through his eyes and his handwork was not the same universe that everyone saw with their naked eye. He did not dream for his paintings to be just an imitation of the lies we see every day and the hidden truths that mask themselves behind strokes of paint. He wanted everyone to be seen, no matter their status. He was not a world leader to achieve such, but he only needed one thing—he was a creator. He created a painting movement under Cubism, the Transparent Cubism, which many Filipino painters take inspiration from to this day. Imitating every brush stroke for a person, he followed the techniques of separating a figure into multiple shapes, but this time, blending and layering everything together while every shape still remains visible. This movement was officially recognized in the 1950s.

In 1971, he opted to pick up his paintbrush and look back into the suffocating system that he lived through, and still somehow exists to this day. He did not draw something visually complicated, but he drew two simple figures that revealed what a true life filled with complications looks like. In this painting, he formed an image of a man, barefoot, hugging his knees for comfort. Perhaps his own body brought him warmth, and his covered eyelids pressed against his rough skin was the only way to help him escape his dull reality. It was telling that although his entire face was hidden, the emotions that drown him are still perfectly visible, not through the eyes, but through what we can feel. Accompanying him is another figure, this time, hooded, sitting on and facing the same ground as him, with eyes down on the soil that they would always wish to escape from. The figure, however, did not seem to completely embrace defeat as he did. With both hands extended, it was obvious that a cry for help was desperately given. In most paintings, a picturesque backdrop would be right behind the subjects to enhance their intricacy. To contrast exactly that, all vivid green trees and baby blue skies were scrapped, and instead replaced with an abstract depiction of a dark and secluded alleyway. With all the monotone atmosphere, one color seemed to glare back. It was the color of a vibrant red, dripping on the craving open palms down to the land. Red can be a color that represents danger, anger, or sacrifice. But to the two beggars, they sensed all three.

When Vicente used Transparent Cubism, it was not unintentional. It was with a perfect plan that he showed how the shapes blend together; victims of poverty in the Philippines also blend perfectly into the system that is disguised as one for the people. The beggars in the painting are not subjects that only live under a single creation of a painter for a one-time period. In the Philippines, we do not only have 2 beggars, but 4.5 million. There are 9 million outstretched hands that continue to await support. The painting narrates that Vicente’s vision of the universe was not innocently multicolored, but it was truthful.

About the Competition

The Global Poetry and Creative Writing Competition 2026 by Hashtag Kalakar is a prestigious platform celebrating diverse voices in literature and art. It brings together creative minds from around the globe, offering them a stage to express their unique perspectives through poetry, essays, and creative writing. This competition fosters a community of artistic expression, encouraging participants to explore and share their interpretations of the world.

We extend our heartfelt thanks to Ameena for her enlightening contribution, "Vicente’s Vicarious Vision," to the Global Poetry and Creative Writing Competition 2026. Her exploration of Vicente Manansala's Transparent Cubism offers a compelling insight into the depth and significance of interpretative art. Ameena's work continues to inspire and provoke thought, highlighting the enduring impact of art on society.

About Hashtag Kalakar

Hashtag Kalakar is a creative platform dedicated to providing artists, writers, singers and other creative talents with opportunities to showcase their work and reach wider audiences through competitions, features and creative initiatives.