Artist Mark Harry Gonzales is known for his cold-cast marble sculptures with forms that calls to mind fantastical sea creatures fused with familiar imagery. he often incorporates dynamic biomorphic elements; elongated, wave-like forms that give the impression that his sculptures are organic entities in the process of growth but caught mid-metamorphosis, suspended in a moment between what it was and what it will become.
Come close, inspect each work, and what you will see is a palimpsest, layer-upon-layer of imagery peeking through the holes of what seem to be ribbons of paper, overlapping and interpenetrating, asserting their figuration, their ghostly imprints.
In love, we experience ecstasy. We lose control of ourselves and tend to do things that are beyond our comfort zones. Ecstasy is derived from the Greek word Ekstasis, which means to stand outside of oneself. And when one experiences it, it means as if one is brought out of himself because of love or of the Other that he loves.
Evoked by interweaving roots to compose face and torso of a woman through intricate and meticulous technique, with no visible beginning and end, the subject matter which Herwin Buccat is known for and is in full-display in his first solo show, Nesting Ground, represents at once an allegory and archetype.
On the horizon of the art of the artists who have gathered for this exhibition is a savage. The word in Filipino, which is the title of this project, is more graphic and unerring. It is surely a reference to a political monstrosity that the artists glean in the landscape.
Among the contemporary Filipino artists working today, Pogs Samson and Jojit Solano are perhaps two of the most fearless examiners of the national id, laying bare the bones of our collective failure and moral decay.
What is an identity? Is it a list of characteristics, visible or invisible, that can be rattled off as one would of the information in a birth certificate? Is it performative, something that has to be acted out continually, until something like habit emerges, shaping and defining the individual?
Sa kanyang eksibisyong, Ang Polonpolon mula sa Limurya, naipapakita ni William Gaudinez ang kahalagahan ng panunumbalik sa mga sinaunang simbolo upang bigyan ng dalumat at bagong konteksto ang mga saloobin ukol sa kinagisnan at paroroonan. Sa kanyang mga mumunti-munting retablo at iskultura, isinasakatuparan ni Gaudinez ang paniniwala ng mga sekta sa Bundok Banahaw na ang kapuluan ng Pilipinas ay galing sa kontinente ng Lemuria na sinasabing tigib sa misteryo at modernong sibilisasyon bago ito gumuho sa karagatang Pasipiko o Indiano.
In the Dictionary of Obscure Sorrows, “anemoia” is described as “nostalgia for a time you’ve never known.” As a collection of works in a gallery, Anemoia is an exhibition that allows the viewer to enter a space of recollection, recalling places he has never seen and a time in which he has never lived.
Upon entering the exhibition space, the first work to greet the viewer is a sculpture made of lace tied into a condensed bundle of knots. It is placed directly in front of the gallery entrance, approximately at the middle of the gallery area as if saying that this is the focal point of the entire exhibition, and it just as well might be since this work represents the center or core, an area of high density and activity where everything converges like a symbolic hub. One might even assume that this is the most important piece in this exhibition; on the contrary, as the artist emphasized in its title, this work is Beside the Point.