GABBY ALIPE:

STORY BY Angela Jed Silvestre

 Good versus evil.

It’s not such a foreign concept. Every story you’ve ever read, every movie you’ve ever seen tells us about this conflict or explores it in one form or another, more popularly in religion. Most of the time, they’re dealt in exclusives; you’re either good, or you’re evil. The light side or the dark side. White or black. And that’s it.

But in a more advanced time, in an era that explores and accepts the grey in between, we know now that this very common dichotomy isn’t as simple. We know that in each and every one of us, both good and evil co-exist. No one was created purely good or purely evil. As human beings, we’ve learned to explore the importance of each side’s existence in the same space and to overcome the struggle in deciding which one gets to steer the wheel.

It’s this concept that Gabby Alipe, Urbandub’s vocalist and our cover icon, explores with fascination both philosophically and artistically. Besides the music, haven’t you ever wondered whether, when you see him on stage performing your favorite Urbandub songs, the tattoos are more than just that?

15 years in the music industry (plus the 20 years before that) has allowed an accumulation of art on Gabby’s skin of the inked variety. It’s no secret that Gabby Alipe is one of those musicians whose tattoos are an indelible part of who he is and in this issue, we find out more about him besides the music and beyond skin-deep.

Tell us the story of the first tattoo you ever got.

I was young and stupid. I was 17 [years old] when I got my first tattoo. Didn't really understand what tattoos were all about back then. I just thought or assumed I'd look cool if I had one! (laughs) I got a small tribal sun design on my left arm, done by a Cebuano artist, Ronnie Macapagal.

Were you already involved in music at the time?

I already had some experience performing in bands but mostly during my high school days, performing at school fairs with my classmates. Our band name back then was The Electric Blue Balls. We loved performing in all-girls schools! (laughs) I wasn't the frontman though, I just played guitar.

Has there always been a direct correlation between your music and what tattoo you decide to get?

As I got older and started to immerse myself within the tattoo culture, I started to really understand what it was about. Since then, whenever I would pick a new design, it would usually be a representation of who I was at that particular moment I decided to get ink done.

Do you have a tattoo that you might’ve regretted getting?

My only regret is starting too early with my tattoos. I should've waited and done better research—about the culture and what it's all about—before starting. But all in all, it turned out good for me. So really, no real regrets.

You have a lot of tattoos on you right now. Are they all connected somehow?

My tattoos are all about good versus evil. That's usually the theme of the art I put on my skin.

Why good versus evil?

I think it's the ultimate human struggle. The choices we make dictate who we become as a person. I struggled with my choices especially when I was starting my career within the industry. It was a struggle between living a certain lifestyle associated with my genre of music or staying true, and focusing on the work. When you're a young musician on the come-up, it's easy to fall for the common traps and temptations within the industry. But thankfully, I've made more good choices than bad ones. (laughs)

Is this your personal philosophy when getting inked?

My only philosophy about getting ink done is to make sure it fits my concept of good versus evil. It's the battle I struggle with daily. At the same time, I always think first if the design I'm getting actually fits my personality and lifestyle. I've stuck with the philosophy that whatever art you put on your skin, the imagery that shows is a direct representation of who you are on the inside.

Who are the artists behind your favorite tattoos?

The artists I've worked with so far, who have done amazing designs for me; Ronnie Macapagal from Cebu, Joe Saliendra from Manila, Ricky Sta. Ana from Manila, and Carlo "Crol" Gabiana from Cebu.

Which of your tattoos is the perfect manifestation of this good versus evil concept?

My back piece. My whole back is covered by an oriental-inspired design by Ricky Sta. Ana from Skinworkz Tattoos. It's a samurai killing a dragon. [A] good-triumphs-over-evil-type of concept.

So if you were to be both hero and villain, who would you choose to be?

If I were to be a hero, I wanna be Batman. You already know why. (laughs) If I were to be a villain, I'd choose to be Jareth the Goblin King from the movie Labyrinth. David Bowie...’nuff said. (laughs)

DYANI LAO: INDELIBLE ARTISAN

STORY BY Angela Jed Silvestre

Our lolos, lolas, titos, and titas used to sit us down in the sala after dinner just to talk and tell stories about real myths and legends. And sometimes it wasn’t even limited to the kind of myths we used to read about in books like the aswangs and the kapres.  Some myths talked about creation, some even tell the story of the first man and woman. There were myths about good triumphing over evil and some wherein evil might’ve survived to prey on naughty children or beautiful women.

It is with this fascination with myths and stories that Dyani Lao shares with us his passion: taking Philippine folklore and legends and turning them into vibrant pieces of art. Tattoo art, to be more precise.

Dyani Lao has been in the industry for more than a decade, making his mark not only as an artist but also as a passionate educator. After first delving into tattoo in 1992, Dyani continuously honed his craft and went on to graduate with a Fine Arts degree in Painting from the University of the Philippines, winning the “Gawad Dominador Castañeda” for Best Thesis entitled “Ritwal”, which was a study on the technical aspects of tattooing a live pig, discussing concepts on myth, mysticism, beliefs and the afterlife. It was then that Dyani Lao’s art started telling its own stories, winning award after award and ultimately bringing him to Hong Kong as Head Tattooist of Tribal Gear HK and Macau.

As an educator, Dyani has had experience teaching Print-Making at the Philippine High School for the Arts in Laguna and has spearheaded talks and seminars to educate aspiring artists. Also a believer in teaching by example, Dyani can’t stress enough the importance of apprenticeships, especially in today’s tattoo industry. Currently, Dyani is working on his art, creating new Tattoo Flash prints to supersede his first solo show back in 2012.

At what point in your life did your interest in tattoos start?

At a very young age, siguro mga five? Kasi nung time na ‘yun nakatira kami sa may palengke tapos may mga kargador with tattoos. Crude yung pagkagawa pero it was something magical eh; pag bata ka ‘di ba parang, ‘Wow pano nangyari yun’. Until late high school, may nakita akong mga member ng gang na nag-tatattoo sila so kinaibigan ko sila, pinanunuod ko yung procedure, tapos I tried it. Of course hindi maganda. (laughs) I tried it on myself, first time. It’s part of my visual diary. Ang ginawa ko nun, I bought a sticker tattoo then ginamit ko as stencil.

Was it as hard as we think it is?

Nag-start ako mano-mano kasi. Yung nakatali lang sa stick yung needles, yung jailhouse type. So talagang hindi ganun kaganda yung quality. Pero noon kasi, maganda na yun eh. Tapos around ’95, ’96, dun na ‘ko nakakilala ng ibang artist na nakipagpalitan ng skills and experiences. May machines na by that time pero yung first two years ko it was all hand.

You specialize in a lot of various styles. Which has been a constant favorite?

Oriental, Japanese Style. At a young age, I had books from my dad, kasi yung dad ko was an artisan of my lolo sa Taiwan. Nag ca-carve kasi yung lolo ko dun ng mga gods ng mga Chinese. So may mga books siyang inuuwi, dun ako na-expose. Kaya mahilig ako sa dragons, basta everything Chinese.

Since art is in your blood, was being a tattoo artist something you always wanted as a profession?

Ah yes, yes. That’s one reason why I studied painting. Kasi dati ayaw ko mag-aral eh. (laughs) Naisip ko na I need to learn more about drawing, and colors. Right now, I’m pushing Philippine mythology so ito yung mga characters from folk stories kasi una, mahilig ako sa myth, and second mahilig ako sa stories eh. And nawawala na ito sa atin, like marami sa generation na ‘to hindi na nila alam yung mga kwentong ‘to. And sobrang dami nating characters so naisip ko pwede din naman natin gawin ‘to. It’s like the Japanese, yung imagery nila is also from their mythology eh and pag sinabi mong Oriental art automatically Japanese art pag tattoo. Eh naisip ko, why not Filipino?

Any favorite stories?

Creation of the universe from Bukidnon. Long story siya eh. (laughs)

As a tattoo artist, what is your biggest peeve with working in the tattoo industry?

Sa ngayon, tattoo competitions. Business na siya eh. Parang every week meron, tapos makikita mo ‘yan at ‘yan lang din yung mga entries. Or let’s say meron silang on-the-spot, pero lumulusot parin yung mga copied tattoos from magazines and then nananalo pa. Walang cash prizes, mostly plaque lang. Ngayon yung mga nag-uumpisang artist, ang reason nila is exposure. Pero para sa akin, parang linoloko lang sila ng organizer eh. Bakit kailangan every week or every month? Parang hindi na siya ganun ka-prestigious.

You’ve been tattooing for more than a decade. How much has the art evolved since you started?

Sobra, technically. Siguro yun yung good part kasi [getting] supplies now is very easy. And online [through the Internet], you have videos to learn from. May mga tattoo conventions na may nag-vivisit na foreign artists and they also share. Marami nang nangyayari ngayon compared to before.

What’s next for you as an artist?

More studios [siguro]. Kasi ito yung nawawala sa tattoo art ngayon, yung apprenticeship. Like me, natuto lang din naman ako mag-isa eh. Pero,  pangarap ko maging apprentice noon pa kaso walang ganun before eh. So nowadays, may mga nag-ooffer ng apprenticeship, pero sakin siguro, masasabi ko this is pure apprenticeship eh. And napapansin ko yung iba, hindi ko naman alam kung talagang ginagawa nila yung master-apprentice relationship eh ‘no, or ginu-good time lang nila ‘tong mga batang ‘to para maging utusan nila. Gusto ko mas dumami pa yung maturuan ko and siguro eventually maturo din nila yung [tamang] paraan.

Why do you think the master-apprentice kind of teaching is important?

We can’t learn overnight and mas experienced person yung master and marami siyang pinagdaanan na ayaw na niyang pagdaanan niyo pa. So mas madali kayong matuto, mas madali kayong gumaling, and lesser yung balat na sisirain niyo. (laughs)