For sculptor Herminio Tan, art is an extension of the self—a medium through which an artist freely expresses himself. This is evident in his creations which helped reshape both the local and global art scene and the fashion industry during his 11 years as a visual artist. “I think my art has evolved from dark to something light and bright, and it’s driven by my emotions and personal experiences.”

Resin, wood, metal, clay, and porcelain are the mediums that Tan use to create his art pieces but what has made him famous as a Filipino sculptor is his signature style—wearable art made of skulls and animal bones.

Born to architect and interior designer parents in Isabela and surrounded by art at home from a young age, it’s no wonder Tan developed an early fascination with the arts. In kinder, he already made his first sculpture with clay.

Though artistically gifted, he pursued Mass Communication at Far Eastern University. It was in college that he turned creating into a passion after meeting a fashion designer who encouraged him to create his own fashion collection consisting of wearable sculptures.

“Mahilig kasi akong mag-ukay no’n kasi ‘yung mga damit sa ukay, cinu-customize ko. Ginugupitan ko ng sleeves, dinodrawingan ko, ginagawa kong studded, kasi malaking Lady Gaga fan ako dati…[I liked thrifting clothes and customizing them. I upcycle them by cutting their sleeves, drawing on their fabric, and adding studs because I was a huge fan of Lady Gaga],” he says.

“From someone who just, you know, makes artwork for himself, [I learned how] to make artwork for other people.”

Heavily influenced by video games like StarCraft and Diablo 2, as well as films such as Alien and Predator, and anime series like Neon Genesis Evangelion and Voltes V, Tan’s wearable sculptures reflect his passion for the eccentric and grotesque. They are an invitation to look beyond the tangible mixed media components of his art pieces and step into the portal of his “bittersweet” childhood and evolving, experimental art style.

“I can say my childhood is a little bit weird. It’s bittersweet, I think, with that kind of childhood. It gave me the drive to be an artist,” he recalls.

In 2020, at the height of the COVID-19 pandemic, Tan experienced a profound realization: the world had become a more frightening place, with many people suffering each day. Instead of showcasing art that reflected his childhood and the scars of his past, he decided to produce “auspicious” works that convey hope, inspiration, and positivity, to uplift all who experience his sculptures.

Drawing on themes of friendship and mental health, Tan’s current work explores humanity’s connection to both the inner self and the natural world. It’s the very opposite of his early works but like his own journey from darkness to light, he transforms bones, resins, and other raw materials into something indescribably beautiful. He turns every grave into a garden, symbolizing change, growth, and healing; a testament to the beauty and terror of life and the self.

Tan looks up to Jeff Koons, Damien Hirst, and Filipino artists Dex Fernandez (Garapata) and Sarah Geneblazo, but it is fellow sculptors Merlito Gepte, Paul Quijano, and Badz Palacio whom he considers his mentors.

“Ang pinaka-nagustuhan ko sa sinabi niya when I met him in person [ay] ‘kung kaya mong i-drawing ‘yan, kaya mong i-ukit ‘yan,’ [What I liked the most about what he told me when I met him in person is, ‘If you can draw it, you can sculpt it’]” he says when asked about the artists who guided him in his artistic journey, referring to Gepte.

Each of Tan’s pieces takes three to six months to complete. A tremendous amount of love, thought, and effort goes into every step of his process—from brainstorming and sketching to production and final touches.

In addition to long walks and ample sleep, meditation, travel, and exercise fuel his creative spark. He excels at preventing burnout, making space for what truly drives him as an artist: the challenge of creating art for his clients.

“Exciting siya and masarap gawin kasi ‘yong mga vision niyo nagc-come together [It’s exciting and fulfilling to do because your visions come together]. You get to execute people’s fantasy, on how their artwork will look like,” he says.

Aside from fashion shows, Tan has showcased his talent in several solo and group exhibits since his first solo show in 2014, the most recent being in San Francisco, California, this year.

His works were also displayed in several local shows and films including “Dirty Linen” (2023), Mark Meily’s “Maledicto” (2019), and Jose Javier Reyes’ “Recipe for Love” (2018), and “Our Mighty Yaya” (2017).

In September 2019, Illustrado Magazine named Tan one of the Top 100 International Filipino Designers, affirming his excellence in the art, film, photography, and fashion industries. He was also featured in DITO Telecommunity’s “Gáling DITO” digital ad campaign in early 2024, celebrating emerging talent in the country.

To mark his 10th year as a visual artist, Tan opened his own art gallery in his home in Antipolo, Rizal, showcasing his genius to clients and art enthusiasts who share his fascination with the sublime and otherworldly.

Approaching his 12th year in the field, he is determined to not only create a powerful art that explores beauty, existence, and the human experience but also to mentor and inspire a new generation of artists, guiding them toward success in both their craft and careers.