One character trait of important sculptors is a boundless physical energy that deliberately avoids the path of least resistance and surges towards monumental challenges. The sculptor is more conscious of physical challenges in terms of scale and craftsmanship because he literally grapples with his material. Eduardo Castrillo, 28 years old sculptor, has worked with diverse sculptural media, from gold jewelry to large 23ft-high welded-brass sculpture. Only a few years in the local scene, he has already created an impact for daring to grapple with what has been a major stumbling block to local artists, the lack of technology and the inclination to cling securely to tried and true and wood plastercast works. Castrillo accepted the challenge of making medallic art, with gusto attacking the technological problem by actually accepting a commission for a commemorative medal and divirsing his own techniques to mint the medal. He was also one of the first to work with polymer materials. Castrillo has certainly been the first local sculptor to hurdle the concept of scale, to think big in terms of huge metal pieces.

Castrillo was born in Sta. Ana Manila. He gave his first one man show in 1966, in his early 20's, and has been active in group shows and other one-man shows ever since. His commissioned works are in prominent places at the San Beda College, the Manila Electric Company building, the Manila Hilton Hotel, the Bank of America, Loyola Memorial Park, and so on. The National Museum and the Cultural Center of the Philippines both have a Castrillo in their collection, along with a long list of prominent collectors. This year he was awarded the Cultural Heritage Award in Sculpture, and the Araw ng Maynila Award, both much coveted recognitions in art.

The works of Castrillo exude an impatience and a feeling of bursting out in jagged forms. "Clash" for instance is a free-standing sculpture of two shapes in two different metals in collision. One in brass is given a patina through acid oxidation, the other in stainless steel. The subject deals with two familiar forms, slightly distinct in metal quality who confront each other, a symbolic analogy of the present state of Philippine society and social unrest. "Oppressed" is a large hammered out copper work depicting an incident in which a protesting quasi- religious group was mowed down by the high powered guns of authorities in a main street of manila. The jagged lines, the violent and tragic monument, is captured free form by Castrillo.

A lust for delving into material, a curiosity and restlessness, mark his creative personality. There is also some flair, even a touch of flamboyance, in his personality which he manages to carry with as solemn air. His studio is a busy hub, teaming with people hammering and scurrying about and heavy with the pungent smell polymers catalysts and oxidizing acids. Through the various sections of the workshop, Castrillo dashes about directing the shape of a gold ring one minute, calling out directions to helpers moving a large metal piece in the yard next minute, supervising the cutting and welding of a metal relief for a brief spell, and then running up to a cubicle to answer a telephone call from a prospective client, or else, Castrillo is astride some wooden scaffolding welding a section of metal, or standing over a large copper sheet hammering with staccato precision at a delicate form emerging out of the flat metal, then again he is riding off in his I.H. pick-up to supervise the installation of his latest commissioned piece in a building, or he sits alone in his studio-office, amidst Castrillo created metal and glass furniture, brooding over designs. His clothes, cuff-links and belts, the doors of his house, his car, bear metal imprint of his creativity.

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