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1964
Takes a job at La Estrella del Norte
jewelry shop at Escolta while still
studying at the University of Santo
Tomas. From jewelry designer, he moves
up to display director and finally
to official jewelry designer. He "discovers"
himself and begins a period of harnessing
knowledge, reading art books and magazines
and visiting galleries. He realises
that he can contribute something to
the Philippine art scene.
1965
Resigns from La Estrella del Norte
and begins to prepare for his first
one-man show in the steel grill workshop
of his brother, Amado, in Makati.
PROFESSIONAL
LIFE
1966
Holds his first one-man show at the
Norther Motors Showroom in Makati.
The 25 works exhibted cause a stir.
The show receives good reviews and
attention from collectors.
Installs THE VIRGIN, La Loma Cemetery,
Caloocan and YOUTH'S CRY OF DEFIANCE,
Fort Santiago, Manila. Receives Commission
from the Manila Hilton Hotel to do
LAS ISLAS, a mural hammerout trilogy
of Luzon, Visayas, and Mindanao.
1967
Joins Sixteen Young Artists group
show at the Northern Motors Showroom
and the Art Association of the Philippines
Annual Exhibition at the National
Library Exhibition Hall.
Begins to get seriously noticed from
the press and critics who have difficulty
catogorizing the range of his works.
He meets with landscape architect
Ildefonso P. Santos and Victor Puyat,
with whom he establishes lifelong
friendships.
1968
Installs HARMONIOUS GROWTH, Formoso
Building, Makati.
Joins the Society of Philippine Sculptors'
National Sculpture Exhibition at the
National Library Hall and Lawn, and
Young Artists at the Luz Gallery.
Tours India for a month as cultural
visitor and university guest lecturer.
The exposure infuses Castrillo with
the cultural skeleton of an ancient
culture of Asia as he consciously
challenges the pervasive influences
of western art.
Begins to join political rallies against
the Marcos government. He buys his
brother Amado's studio to keep up
with expanding workload.
1969
Installs PORCUPINE and TINIKLING,
a kinetic sculpture. This is the first
time that glass is utilized in local
public artwork. Installs an environmental
piece at the Makati Commercial Centre,
Makati, Metro Manila.
Solo Exhibitions: Manila Hilton Art
Center, (15 freestanding and hammerout
pieces) and Luz Gallery (18 metal
sculptures and paintings in glass).
Both are critical and financial successes.
Group Shows: Acquisition 1969 at the
National Museum; Young Artists, Luz
Gallery; a group show at the Cultural
Center of the Philippines.
Joins weekly meetings of the Saturday
Group.
1970
Installs TRIBUTE TO THE DEAD SOLDIERS,
in Guam; ALLIGATOR, Magallanes Commercial
Centre; mainly doors for San Beda
College.
Receives the Thirteen Artists Awards
from the Cultural Centre of the Philippines.
Solo Exhibition: Lux Gallery.
Group Shows: Three at the Cultural
Centre of the Philippines. Artists
in Revolt and another group show,
Solidaridad Galleries, Sining Kamali,
and the Luz Gallery.
1971
Unveils LA PIETA Loyola Memorial Park,
Parañaque. Installs MAYOR ARSENIO
LACSON Monument, Plaza Lacson, Sta.
Cruz, Manila; and ANITO, Anito Lodge,
Pasay City.
Receives four prestigious awards:
Republic Cultural Heritage Award,
Araw ng Maynila Centennial Award,
Outstanding Makati Resident Award
and the Ten Outstanding Young Men
Award.
Philippine representative in Sculpture
to the Paris Biennial. Awed by the
experience of seeing European refinement
in traditional and modern art, he
nevertheless becomes convinced that
some of his techniques are not being
used in Europe, particularly embossed
copper, and constructed and welded
brass.
Solo Exhibits: Jewelry Exhibit Show,
Galerie Bleue, Rustan's Makati (50
pieces) and at the Solidaridad Galleries
in Ermita (23 hammerouts and welded
steel forms).
Group Shows: Interaction 71, Solidaridad
Galleries Special Art Show for the
Araw ng Maynila (Manila Day Celebration)
at the Sining Kayumanggi, Mehan Garden,
Manila (with Joya and Castañeda);
Six Nudes Exhibit Galerie Bleue, Rustan's
Makati, Metro Manila; Paris Biennial
'71 Exhibits, featuring CLASH and
OPPRESSED.
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