ORTIGAS ART FESTIVAL
FEBRUARY 23 – MARCH 26, 2018
ORTIGAS ART FESTIVAL
FEBRUARY 23 – MARCH 26, 2018
In Interlude 28, the artist depicts lace as a form of skin that develops like a natural adaptive mechanism in reaction to her environment in an attempt to reconcile how others perceive her and how she defines her own self. The piece is composed of multiple casts of the artist’s body formed from lace and stacked one on top of the other in a wooden trunk. It is a symbolic collection of her old sheddings. Fetalvero keeps them, so that, according to her, she can revisit them and in a way, learn from her old self.
In 2009, my art had taken its turn when I met sculptor Ronald Castrillo, who mentored me in brass sculpture. After using acrylics as a medium for a year, the meeting with my good friend Ronald had been the pivotal moment when I truly realized that my true calling is in the creative process of three-dimensional works rather than in two-dimension. I discovered the spontaneity and my natural fondness for bending, crafting, cutting, welding and molding materials. I prefer the rawness of brass by infusing it with a finite form but seemingly evolving feel. The journey is only the beginning for me.
Metal has been the routine medium in sculpture, assemblage, and in some forms of installation art, but in his first-one-man show, Coping Mechanism, Anthony Victoria reveals its properties, particularly that of aluminum, as a drawing board, a slate, a futuristic canvas on which he essays the clashes, collusions, and inevitable cooperations of the human and the artificial, the beating heart and the thinking mind with the resonant forms of technology.
Virtue confronts anything less than itself. It is universal and reaches the deepest recesses of the heart. And so, it is by this that the true merit of anything is known. By this, the standard is set. It is objective, and that is good. We may fight or feign, but it shall never compromise. As it reaches deep within our hearts, it leads us to understand that there is a better alternative, the only wise alternative to evil. Yet could virtue come from deep within? Surely. For it is not a bait that simply teases or provokes, but a pointer that it is possibly and achievably so.
Founded in 2008, Kalye Kolektib began as an informal group of artists who hailed from the South of Metro Manila with the vision of creating community-based projects, public art, and single-themed exhibitions delving on folk religion, mysticism, and social realism. It takes its name after the proverbial Pinoy street on which all sorts of people can converge to discuss issues about Filipino life, art, and spirituality. As one of the more active art collectives practicing today, Kalye Kolektib now includes artists of different ages, backgrounds, and media and has expanded its foray to both the gallery-based art world and the public sphere.
A year-long mentorship program which includes studio sessions with Eskinita Art Gallery founder Alfredo Esquillo and resident curator Renato Habulan, support during production, and an exhibit at Eskinita Gallery. TUKLAS on the part of the mentors and the Gallery, would be a time for discovery—of the art scene’s breadth and depth of potential talent, of prevalent and emerging styles, and of the art scene’s drive and direction. TUKLAS is also the Gallery’s time to give back, to guide, and to grow.
TUKLAS is patterned after Esquillo’s own mentorship under Habulan, which has evolved into a friendship, and further into a collegial and professional partnership. Esquillo is among the many Habulan has mentored through the years. Habulan has a passion to train the artist’s eye, hand, and heart—imparting the drive to strive for technical excellence and adhere to a strong work ethic—whilst sharpening the individual artist’s distinctive vision, voice, and visual vocabulary.
“Biskeg” is from a Pangasinan word that means “Strong.” This group started through an initiative spearheaded by four artists from Pangasinan namely Patrick Fernandez, Jojit Solano, Bonifacio de Guzman, and Edmundo Calimlim. The goal is to formulate an art scene for the artists in our province through various instances of showcasing our skills and different styles while taking a heed of the space we lived in. We want to serve as an inspiration to the youth as well as to anyone who resonates with our artworks.
“Layaw” is a hiligaynon term that means “liberated,” “wild,” “free,” and “independent.” A term perfectly attributed for these ilonggo (iloilo) artists as they take great comfort in their individual art. Art for them is a shield against the daily confrontations of violence and oppression in this world. It is an outlet to seek freedom for their curious souls as well as an avenue to be in quest of happiness despite the day-to-day struggles of existence.
This exhibit aims to express various subjects of spirituality, pestilence and violence — the struggles, pain and fear we have experienced and felt throughout our lives.
Eskinita Art Gallery presents Eskinita Kontemporaryo, a retrospect of our 2017 exhibits and a bold prediction of contemporary art’s future trends. Founded by Alfredo “Eski” Esquillo, the gallery is an alternative platform and artist’s intervention in the art scene that continues to grow, evolve, and complicate. As Eskinita Art Gallery looks towards the future of contemporary art, this exhibit is a showcase of the Philippines’ current crop of rising artists as they tackle a variety of different topics in our current events.