ABOUT THE ARTIST
Eduardo Mutuc, born on October 12, 1949, is a Filipino metalsmith and sculptor from Apalit, Pampanga. His practice of a traditional art technique called pukpuk, a meticulous embossing method that flourished during the Spanish colonial times, garnered recognitions and made him one of Pampanga’s renowned artisans who was accorded the National Living Treasures Award by the National Commission for Culture and Arts in 2004.
Mutuc’s life is dedicated to creating religious and secular art in silver, bronze, and wood varying from intricately detailed retablos, mirrors, and carosas which can be found in churches and private collections. His crafts vary in sizes, some being as large as exceeding 40 feet, while some are immensely small and feature delicate craftsmanship.
Eduardo Mutuc, locally known as Tatang Eddie, works in humble surroundings for his studio occupies a corner of his yard and shares a space with a tailoring shop. Tatang Eddie’s early life was spent in the farm where he helped his parents who are both farmers right after he graduated in elementary which resulted in him never reaching high school. He got married at 20 years old and was apprenticed as an antique shop helper/carver in a business owned by his relatives (Lozano family) in his late twenties (29).
It was during his apprenticeship when he learned the rudiments of wood carving under Mr. Carlos Quiros and
Tatang Eddie discovered his talent in sculpture and metalwork. Fifth or sixth year later as furniture maker, he learned the art of silver plating, a technique used to emulate gold and silver lead in the decoration of saints and religious screens found in colonial churches, from a colleague. Thereafter, he ventured into metal craft most locally known as pinukpuk. Initially, Tatang Eddie became an expert in copying available patterns, then progressed in becoming more proficient in introducing his own designs.
Tatang Eddie is recognized as the finest metal craftsmen in the country. Few of his first commissions include creating a tabernacle for the parish of Fairview in Quezon City, ecclesiatical pieces such as altar tables and candelabras, picture frames, and salakots. Despite his proficiency and experience in metalwork, he finds it difficult to work on facial expressions in his commissioned pieces involving human representations (e.g., cherub).
Eduardo Mutuc’s legacy will forever remain not only with his crafts but also with his humble and down to earth attitude.
Eduardo Mutuc believes that the only way to improve one’s skill is to immerse oneself, learn the technique, and to practice. Only in perfecting one’s craft can there be real reward.
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