Embracing the unpredictable nature of soot born from combustion, artist Junyee creates hauntingly beautiful images that embody his enduring, uncompromising artistic vision.
At 82 years of age, Junyee (his real name is Luis E. Yee Jr.) stands as a towering figure—not just in physical stature, but in the realm of Philippine contemporary art. His name is one synonymous with installation art, a genre he pioneered in the country, redefining what it means to create, experience, and live with art.
Yet, despite his monumental contributions, Junyee has somewhat remained in the shadows of recognition, embodying the paradox of an artist whose works are larger than life but whose persona remains humble, grounded, and quietly revolutionary. He also created “Angud” in 2007 — a one-hectare outdoor installation at the CCP Grounds, made from thousands of discarded tree stumps, confronting issues of environmental degradation in celebration of Earth Day.
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An Artist Born from Nature
Junyee’s art defies the confines of galleries and museums. His first major outdoor installation, “Balag” (1970), was a declaration—a bold move that took art out of sterile white walls and into the raw, unpredictable environment of the outdoors. It was the Philippines’ first-ever outdoor installation, using indigenous materials like the resilient bamboo, a testament to his belief that art should breathe the same air as its audience and interact with natural elements.
His philosophy is radical in its simplicity: “Even if you leave me in the middle of the forest without any art materials, I will still create art with whatever I find.” This is not an artist’s boast. This is the core of Junyee’s being. Whether through bamboo, wood, leaves, or even soot from a flickering kerosene lamp, he transforms the mundane into the magnificent. His materials are not chosen for their value but for their existence—for the stories they carry, the histories etched in their grains, textures, and imperfections.
The Soot Chronicles
In his upcoming solo exhibition at The Metro Gallery for Art Fair Philippines 2025, Junyee will unveil a new series of works that continue to push boundaries. His soot paintings are delicate yet powerful compositions created using nothing more than the residue of burning kerosene.
The process is as poetic as the outcome: Junyee lies on his back beneath a suspended metal sheet, an old lamp burning above him. With subtle movements, he manipulates the soot’s deposition, creating haunting images that emerge from the dark, fragile dust of combustion. It is an art form that requires patience as he surrenders control over the flame and the unpredictability of smoke and soot.
Alongside these will be collage works—a medium that, while more traditional, is infused with Junyee’s signature touch of using found materials layered with raw textures. “Martha,” one of his most renowned sculptures inspired by modern American dance pioneer Martha Graham, will also be featured, capturing movement and emotion frozen in time.
Awards, Accolades, and the Price of Integrity
A graduate of the University of the Philippines Diliman, College of Fine Arts (majoring in sculpture), Junyee quickly emerged as an innovator. Despite his refusal to commercialize his art, his career is marked by numerous prestigious awards. His early recognition includes winning First Prize at the UP Art Competition (1965) and and securing the Grand Award at the AAP National Open Art Competition (1974 and 1986). His other prestigious accolades include the CCP Thirteen Artists Award (1980) and the Gawad CCP Para sa Sining award in 2020.
However, these honors are mere footnotes in the larger narrative of a man who once worked as a janitor and an embalmer just to fund his passion for creating art. Junyee chose a life of sacrifice over comfort, guided by an uncompromising vision.
Sculpting the Nation’s Soul
His current project, Bantayog-Wika, is perhaps the most ambitious of his career—a series of 131 monuments, each dedicated to one of the 131 languages and dialects of the Philippines. It is not just a sculpture project; it is an act of cultural preservation and recognition of linguistic diversity in a country.
Through Bantayog-Wika, the underrated yet immensely talented artist reminds us that art isn’t just about aesthetics, but also about memory, identity, and the voices of communities often left unheard.
A Garden of Legacy
In recognition of his contributions, UP Los Baños dedicated a 5,000-square-meter sculpture garden to house Junyee’s works—recreated and re-imagined installations that trace the evolution of his artistic journey. Among these is his iconic monument “Open Doors” in Israel, a symbol of friendship and reconciliation, standing proudly alongside his more experimental, organic pieces.
Timeless Influence
While Junyee’s name may not dominate auction houses, his influence is not to be ignored. He is a mentor, a curator, a designer, a cultural worker, and above all, an artist who never compromised his vision. Most of his art is not meant to be owned, but rather, experienced.
In a world obsessed with fame and fortune, Junyee’s life is a reminder that true art is not measured by price tags or popularity, but by its ability to transform spaces, challenge minds, and touch souls.
As we step into Art Fair Philippines 2025, visit The Metro Gallery booth and engage with Junyee’s latest creations—not just as spectators, but as participants in an ongoing dialogue between art, nature, and the human spirit.
Because in Junyee’s world, everything is art—if only we choose to see it.
Photos courtesy of The Metro Gallery.
