n Handumanay (a word from the Visayas that closely means “recollection”; note, too, of the last four letters, “anay,” that trail the word), Manes examines the erosion of memory as well as those that hold a record of it—photographs, an identification card, and a bill which, to some extent, preserves a kind of national identity. Once translated to his chosen medium, both subject and keepsake, the depicted and the record, share the same fate: their vulnerability is made evident. We as viewers look at his paintings as salvaged (denoting both “saved” as well as the vernacular connotation of “destroyed”) documents. Without these remnants, their destruction is complete.
In this three-man show, Daloy, Mel Cabriana, Thomas Daquioag, and Archie Ruga employ the imagery of water and the ideas related to it: the flow of time and the essence of life. In psychoanalysis, bodies of water evoke the subconscious, and from this place do the three artists draw their imagery: a girl submerged in water, a superhero strumming a guitar against a flooded world, a full-grown figure inside a cocoon caressed by rain. With great care and insight, the images are made to bear their comment upon the world at large.
One requires a certain level of transparency to the ground in order to create an “honest” image. Perhaps sheer to a particular degree of conciousness from the inner self to the paper. As paper reveals it’s physical properties, the artist harnesses these qualities and reacts towards the ground. The exploration of possibilities in imageries and forms that brings paper back to its origin which is nature. The ways in which the artists responded to paper exposes the fragility and potential use of it.