There is no clear boundary between Wyndelle Remonde’s life and his canvas. As his health, pace and surroundings have changed, the visual artist has treated his practice not as a brand to manage, but as an unapologetic mirror of his inner life.
Remonde’s creative foundation took root at home, where his father, a magazine cartoon illustrator, became his first role model. That early exposure eventually led to work in animation and apparel design.
His father’s style and elements have been present in Wyndelle’s work — whether intentionally or subconsciously — since the beginning of his painting journey, which he later blended with inspirations from pop art, street art and graphic design.
He later earned a Bachelor of Fine Arts degree in Studio Arts from the University of the Philippines Cebu, bringing together formal training and influences from lowbrow art, graffiti, comics and screen printing. The result is a visual language marked by saturated colors, bold contours and satirical characters.
“In the DIY and skate scene, you really learn to deal with whatever you have,” Remonde told SunStar Lifestyle. “Having very little when I started out, the influence of the scene helped me survive and keep pushing to create. The ‘rock ’n’ roll’ ethos of that world helped a lot, too.”
Remonde learned early that technical ability alone could make an artist disappear into the crowd. To distinguish his work, he anchored it in autobiography.
“I was thinking that if my works were just straightforward illustration, anyone could do it,” he said. “There are many artists who are far better than me skill-wise, and my work would lack uniqueness compared to others sharing the same art style.”
Rather than compete solely through technique, Remonde turned inward.
“If I inject personal stories and my own technique and style, I thought my work would float to the surface and separate itself from the rest,” he said.
Alter egos and evolving motifs
That autobiographical impulse gave rise to a personal mythology populated by alter egos. Among its central figures are Juan Carabao and Juan Tamaraw, as well as recurring wanderers seen climbing, building and sailing through uncertain landscapes.
These characters have accompanied Remonde through different stages of his life. But he is also willing to set aside an icon when the reality behind it no longer feels true.
Juan Carabao emerged during a period when Remonde was working relentlessly to establish himself in the art scene. As his priorities changed, so did his relationship with the character.
“Juan Carabao was created back when I was working tirelessly to break into the scene,” he said. “But lately, I seldom use that icon because I feel like I’m no longer as relentlessly hardworking as I was when I first made it.”
The change, he clarified, is not a declaration of success.
“Not because I’ve already made it, but maybe because my focus has shifted to other things, like my health,” Remonde said. “Unlike before, when art was the only thing on my mind.”
Since moving to Argao in southern Cebu, Remonde has noticed a corresponding change in both his pace and imagery.
“Maybe my work has calmed down. Even my production pace,” he said. “Life is slower here. There’s no competition, and the surroundings aren’t chaotic.”
The change is also visible in the subjects he paints.
“My visual elements shifted compared to when I was living in the city,” Remonde said. “Before, I was painting jeepneys and buildings; now, it’s waves, coconut trees and the sun.”
Studio 201 in Argao
In Argao, Remonde established Studio 201 Gallery as more than a commercial venture. For him, it is a response to the limited number of art spaces outside Cebu City and a way to build a local audience for contemporary art.
“Actually, Studio 201 Gallery is my response to the lack of art spaces in Cebu — a space that stays grounded in the community, not just a business,” he said.
The gallery also allows him to introduce local audiences to forms of art beyond the familiar.
“Aside from encouraging emerging artists, we hope to help educate people, especially the locals, about what art truly is and explore other styles beyond just the usual realism,” Remonde said.
Operating an independent gallery brings financial and physical demands, but Remonde continues to keep the space open.
“Running a space and trying to mentor younger artists here is an added struggle and challenge in my life and practice,” he said. “But it’s what feeds my soul while I’m here. It’s what keeps me going despite the hardship.”
Although he has considered closing Studio 201, the people who continue to visit have given him a reason to keep it open.
“So many times I’ve thought about closing the gallery since I don’t earn from it — it’s just an added expense for me,” Remonde said. “But I can’t bring myself to close it down when there are still locals who come to hang out and visit the space from time to time.”
‘We’re All Going to Die Anyway’
Remonde’s experience with illness shaped his latest solo exhibition in Makati, “We’re All Going to Die Anyway,” and changed the way he approached both life and art.
“After I got sick, I simply learned to accept the reality that we are going to die soon,” he said. “Whether we like it or not, we will all leave this earth — some just sooner than others. Like me, perhaps.”
For him, accepting mortality also created a sense of urgency.
“So we might as well do the things we love while we still can,” Remonde said. “In my latest show, I just wanted to share everything I’ve been through over the past few years, thinking of nothing else but telling my story as honestly as possible, hoping it inspires and resonates with people.”
Humor, anxiety and absurdity now occupy the same frame. But beneath the changing characters and forms, Remonde’s central commitment remains unchanged.
“Whatever art style or influence I might explore, I will never not be honest with my storytelling,” he said.