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S E A S O N S (Art Inspires Art)

Nature, the four seasons, and human form, basic elements is the creation of art. And the way Edwin Loyola brings them together in a set of photographs is like listening to the most famous four season of all time, Vivaldi’s “Four Seasons.” Even the way Loyola divides it is exactly like Vivaldi’s. Four concertos, with 3 movements each. With Loyola’s ensemble , its four sets with 3 images each set.

Starting with the most famous concerto : “Inferno,” or Winter. Loyola starts with a haunting image of a lady taken from a bird’s eye view as a soft light bathes the entire photograph. A hint of color but generally shimmering in its paleness much like snow giving its surrounding a sense of effervescence. The texture only heightens the starkness of the image. The second photograph shows a slow movement with the hair as she is bathed with textures of fallen leaves. The last image is the quintessential winter image. Eyes closed, a surrender to nature’s disfigurement as birch trees are left naked and birds move to more agreeable climes. The hint of red is a promise of tomorrow.

Then we move to “Primavera.” The Spring movement, probably the rival of “Inferno” in popularity. Loyola’s first subject has her eyes open, a sense of awareness. As flowers bloom, so does her facial features. Colors on her forehead and her body presents the colors of spring! The second subject with pale flesh swathed in winter blue, a portend of things to come. The hint of yellow on the hair is a reminded of the colors that will be. Then there’s a woman in profile bathed in yellow as flora and fauna swirl around her, a dizzying array of the colors of spring. A time for celebration, joy and beauty, the lagro e pianissimo movement of Vivaldi’s “Primavera” is the only movement with a bouncy, danceable melody. Precisely what these images conjure.

In “L’Estate”, or Summer movement, Loyola uses long strokes that beseech heatwaves experienced only during this season. The nakedness is a surrender to that season’s passions and restitutions. Returning to man what was deprived of him during the cold harsh months. In a frontal pose, the subject is assailed both by the heat and the breeze as the orange and blue streaks envelope her. The other subject, turned to its side is covered by the orange heat as it rises from the ground, while being cooled by the blue and white that surrounds her torso. She is having it both hot and cold-the perfect adagio-presto movement!

For “L’autunno,” Fall, one that rivals “Primavera” in terms of color, Loyola returns to full color spectrum.

The first and second images, both in yellow resemble open fields blanketed by the the tiny yellow flowers of the primrose or lesser celandine. Accented with dew drops instead making them appear fresh instead of the dry yellow leaves fall is famous for. The last image, covered in blue, predicts the colder temperatures to come, making one more aware of ones senses. There’s anticipation in the air.

This is not the first time Loyola has manipulated his own images in order to achieve the effect he so desires. But this one of the rare occasions that he has adopted the collage technique to reach the intent of his images. Just as Vivaldi tried to capture the four season in sound, Loyola is taking his cue from the human form as he digitally manipulates them to remind us of Vivaldi’s masterpiece.

Photography by : Edwin S Loyola 2018

Writer : Willy Marbella

Model : Anna Galvan Morales

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