Now into the fourth decade of what he describes as a life that is both sad and happy, Isidro, 65, is still at it with the same persistence and regularity he has practiced even as a young artist struggling to find his niche in the art scene.

"Ang pagpipinta masaya pero malungkot… but I keep at it," he says of this most solitary of pursuits that he reiterates is not for the faint of heart. "This is a profession not a hobby. Regularity is a must. One’s art is refined by constant practice and discipline is needed," he says.

"Kailangan panindigan natin itong propesyon natin. Wag natin hintayin ang tag-ulan, kailangan magtrabaho," he reminds younger artists.

And when an artists starts making a name for himself and his works are selling, Isidro says he must save, set aside a portion for materials and other necessities so he can keep painting at the same time that he is providing for the needs of his family.

"It is sad what many artists have to go through. We all have hard times. Even I have experienced lean times so part of the discipline is planning for those eventualities," he says.

But even as this former dean of fine arts (PWU) and teacher expouses such a methodical approach, his joy at being able to paint is very palpable. "You have to enjoy what you are doing," he says. And this joy comes from knowing what you really want to do, he adds while relating that as a young man going to Manila from his hometown of Calbayog, Samar, his parents had worried that he wouldn’t survive as an artist. To ease their worries, he first took up architecture at the UST. But eventually he gave in to his real love, the fine arts.

"I knew even in high school that this was what I wanted to do. A priest in the Catholic school I attended saw my interest, encouraged me by giving me art materials everytime he came back from a vacation in the US," Isidro says. As a student, joining art competitions was a good "sideline" for them he adds. Competing was a good way to sharpen their creative skills and gave them money for a few rounds of beer, he adds laughing.

With his trademark laughter, Isidro says that when they were discussing plans for this retrospective show, two years ago, Nes Jardin, CCP president had asked him if he could fill the cavernous CCP main gallery in time for the show. "I paint everyday, so even if I have smaller exhibits and I am able to sell my works, ang dami ko pa ring nakahanda," he says.

Like a monk quietly going about the day’s labors, watching Isidro at work in his studio, the viewer gets a glimpse into the creative process that takes place as lines and colors, shapes and shadows are distilled into the works of art that Isidro turns out at the end of the day.

"An abstractionist starts from a concept, an idea. Contrary to what some people think, you don’t just splash colors on a blank canvas. Before you can even produce an abstract painting, you must hone your skills as an artist. You have to know how to draw," he says.

"From that idea, your concept is strengthened by observation of your surroundings, the elements that will go into your composition. The play of shades and shadows, forms come into play and of course, technique. That is what distinguishes the amateur from the artist," Isidro says.

Aptly titled "Mother Earth, 40 Years Retrospective," Isidro describes his works thus: "For the past 40 years, I have instinctively been an enthusiast of the earth’s shifting landscapes… and environment. My earth, rock and landscape series depicted in varied colors, forms, and mixed media are reflections of my passion for Mother Earth."

The retrospective also includes paintings from the different phases of his career. There are works from his 10-year stint (1985-95) in Northern California that was marked by active participation in international exhibition; his Australian period in the ‘80s when on a cultural grant fron the Australian Foreign Affairs, he went on a lecture tour of universities in Canberra, Sydney, Melbourne, Adelaide and Brisbane; to his years actively promoting art education for children in his native Calbayog; and on to his stewardship of the AAP and PAP.

And as Isidro takes in a day’s work, rollicking laughter echoing in his studio, the visitor takes in the works carefully being laid out for the retrospective, what he sees is a seamless tapestry of one artist’s paean to Mother Earth, a testament to his joy at being able to do his life’s work.