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ACUITY

May 6, 2018 | Archives | 2 Comments

A solo exhibition by Gerry Castro

A Portal to Art and/in Music

In “Acuity,” Gerry Castro presents abstract pieces in ink on paper and mixed media on canvas, attaching raw sound assemblages of his own composition. By integrating his audiences to his process, he creates engaging and collaborative encounters with his artworks. The artist introduces a different way of seeing art by combining the visual object with sound snippets.

For his creative process, he uses ambient noise and recorded sound mixes for free-flowing, unstructured and impromptu sonic assemblages, sometimes including elements from his everyday life such as human breath, electronic pulses and gadget alerts, capturing texture, mood and feeling in the particular moment of creation. Recording in darkness, the artist immerses himself in the experience, and endeavors to encapsulate his impressions into visual form, translating them into strokes, dashes and scumbles. One form gives birth to another, as he draws inspiration from his recorded sound to put his paintings together, and complements the finished object, as he uses this specific sound to be enjoyed with the painting.

Castro’s childhood fascination with shapes, color and form are rendered into a series he calls Oculus Etude, which when translated directly means a portal to a short musical composition. He takes advantage of the tonal quality of monochromes by creating waves in random patterns, while his mixed media pieces show more energy and vibrancy in the combination of hues, lines and random patterns. Armed by his art education, affinity to music making, his experiences in film and photography, and pure instinct, the artist creates arresting pieces that appeal not only to one’s sight, but hearing as well. Postcard-sized sketches, photographs and other elements relevant to producing his materials are on display with samples of his art music in cd format to provide more dimension to his multisensory exhibition.

Gerry Castro graduated with a degree in Fine Arts majoring in Advertising from Philippine Women’s University. After studying photography and filmmaking, he went into freelance art direction and served as creative consultant for several local and global institutions and organizations. With his learnings from the industry and his incessant drive to create, he decided to focus on art making in 2015, developing his techniques in painting and sonic assemblage.

Words by Kaye O’Yek

RULE OF THUMB

May 6, 2018 | Archives | 1 Comment

A solo exhibition by Jacob Lindo

Meant to be Broken

Known for thought-provoking juxtapositions of disparate fragments in his works, Jacob Lindo produces a collection of much-awaited paintings that are direct translations of his paper collages in “Rule of Thumb.” In his recent works, Lindo explores the artistic journey itself, the struggle through its peaks and lows, crannies and plateaus. While executing his works, he investigates the essence of art production, weighing self-scrutiny versus public judgment.

Work tools are prevalent in Lindo’s works, as a moving testament to keep pursuing one’s goals and getting projects done. Anatomical features are cut up, but often show hands as an ode to labor and the power of well-thought out actions; feet are also held in prominence as the force that propels one forward. He stays true to his influences from cubist imagery, counter culture and oddities, with random elements in his works creating visual narratives filled with ambiguity and challenging sensibilities along the way. Storybook illustration-colors are devised to take his audiences’ perceptions into their comfort zones while he sets them up for a visual barrage of seemingly unrelated objects that eerily make up a cohesive whole that is equal parts whimsical and weighty without being overtly hard sell. For Lindo, personal and public biases may spell the differences between what is acceptable and what is not; the bottom line is, artists may be individuals most expected, even encouraged, to break the rules, and he wholeheartedly accepts the challenge.

Jacob Lindo is a professional artist who specializes in collage, painting and sculpture. He graduated from Far Eastern University, majoring in Advertising Arts, and has had nine solo exhibitions since 2010. He has been joining art competitions since his student days, placing as Finalist in the Oil Painting Category in the 38th, 39th and 41st Shell National Students’ Arts Competition, and winning third place in the same tilt’s sculpture category in 2006. He also won as Semi-finalist in the 2009 Metrobank Art and Design Excellence National Competition sculpture category. He was one of the featured artists of the recently-held Art in the Park 2018.

Words by Kaye O’Yek

UMBRA + PENUMBRA

April 8, 2018 | Archives | 2 Comments

A solo exhibition by Pinggot Zulueta

For his first solo show this year, Pinggot Zulueta gives light, or rather, casts a shadow to the uncertainties of life through “Umbra+Penumbra.” Umbra is the Latin word for “shadow,” which is also the term used to describe its innermost part, a place of total darkness. Penumbra, on the other hand, is the region in which only a portion of light is stained by an occluding body. Zulueta plays on the past, the familiar, and the nostalgic to obscure the crushing adversity that he experiences from day to day.

Unlike his recent shows in which he unleashed his sentiments in a cascading downpour, Umbra+Penumbra highlights moderated, controlled emotions. In a way, this is Zulueta’s stygian recollection of his coming-of-age years. With this exhibition, he takes us back to his childhood home in the countryside, where he often spent afternoons in the middle of crop fields and farmhouses and nights musing in his room, calling on the moon as his solitary companion.

For the artist, Umbra+Penumbra is his way of playing as a child again, staining white backgrounds with glee, covering mundane colorful objects, even old toys, with dark paint, while reuniting with his youthful soul. Like an eclipse, the two shadows umbra and penumbra silently dance within Zulueta’s monochromatic abstractions. Evident in the mixed media assemblages included in the collection is Zulueta’s utilization of found objects he deems familiar. Abstract sculptures are embellished with relics from his past– wooden figures, tattered cartons, miniature toy soldiers, ropes, an umbrella, newspapers, and antiquated books. The inclusion of these objects makes the works even closer to him and much more autobiographical.

“I just want to play with shapes and forms to escape from serious topics,” he says, “through the abstract form, I channel my focus in trying to unearth and interpret my personal experiences and perspectives, which are buried deep within me.”

With mixed media woodworks and assemblages capitalizing on old discarded and found objects fueled with incongruity and playing with tension by using blacks, whites, and grays, Zulueta touches on themes of attachment and abandonment, contrasting innocence with maturity, belongingness and alienation. Though shadowy, Umbra+Penumbra sheds some light on an artist’s inner conflicts, creating pieces of art that shine into one’s innermost recesses of memory and remembrance.

UNDERGROWTH

April 8, 2018 | Archives | 2 Comments

A solo exhibition by Demosthenes Campos

Trapped in the Undergrowth

Demosthenes Campos’ recent works in “Undergrowth” present mixed media pieces simulating gardens and landscapes with the use of household objects. As Campos explores his process and materials further, he continues to draw inspiration from nature, pushing himself to recreate abstracted dreamscapes replete with plant forms. Digging deep into his artistic foundations, he creates bushes, thickets and copses, managing to create pieces that breathe new life to commonplace wood scraps, scrubs, carpets, string, pegs, tags and patches.

In the exhibition, the artist invites his audience to go interactive and pore through a chest of drawers as if rummaging for treasure. In here, they will encounter lavender-blue and white Hydrangeas; Brushwood Fence with a seemingly 3D-mapped patch of grassy land and a wooden deck; Shrubbery, which, aside from its patches of wood shavings and fiber, may also be considered as a topographical map with crop circles; Lichen with its delicate buds and flowers; and Sibol (Growth) #6, with its tiny scrubby blooms on pastel planes. Scrape Nest resemble germinating pods with layers veiled by flying seedlings and streaks of paint on clear acrylic sheet. This is offset by Old Wood Texture, a gridded abstraction using the Philippine Flag’s muted colors. Along with the wear and tear brought about by what could only be imagined as scrapes with reality and neglect, this piece sets a stark reminder of what needs to be preserved and protected against man’s needless capacity for destruction.

With the vibrant greens of Forest Moss and the pure yet deadly Amanita Virosa or The Destroying Angel mushroom, however, Campos signifies that hope is where we choose to find it, promising new life on one hand and the ability to adapt on the other. Undergrowth is a glaring warning served by the artist which reminds us of the fragility of nature. Looking at Campos’ works and his skills in recreating bushes and grasslands with artificial substitutes might evoke lyrics to Joni Mitchell’s Big Yellow Taxi:

“They took all the trees, put ’em in a tree museum And they charged the people a dollar and a half just to see ’em Don’t it always seem to go that you don’t know what you’ve got till it’s gone They paved paradise and put up a parking lot”

While woodlands are protected by a healthy undergrowth, a habitat for various small animals and certain birds remain, teeming with life and scoring points for global ecological balance. Perhaps, as we enjoy the artworks on display, we ought to think about preserving the real things they embody as well.

Words by Kaye O’Yek