Exhibits 2017
Tuklas offers such a space in which a beginning artist can test his ideas and be a part of a community. Started last year by Renato Habulan and Alfredo Esquillo, Jr., it envisions to discover, mentor, and train a new crop of artists that can combine the rigors of craft with the depth of perception awake to the ills of society.
–Carlomar Arcangel Daoana
At night, I open myself like a well-thumbed book. I smile at the mirror. I cure my loneliness by listening to the water drumming on the sink. Do you ever get lonely, too? Hurry. Beneath our feet are fault lines, rivers of fire. Dear traveler, dear viewer, meet me at _.
–Carlomar Arcangel Daoana
Sculpture—as craft, tradition, and artistic medium—can be traced back to our precolonial past, usually expressed as evocations of our homegrown gods. Now considered as ethnographic and archeological finds, these sculptures nonetheless still assert their presence, still keeping guard over one’s house in certain cultures or being prayed to for a hope of a better weather or harvest.
-Carlomar Arcangel Daoana
Eaten into by termites, revealing holes and areas of degradation, undoubtedly ravaged, the wooden support chosen by Lotsu Manes to define his body of work marks a radical departure from the usual choice of canvas in contemporary art—a foregrounding of the material element as predicator of content as well as an embrace of the corruption of such materiality.
–Carlomar Arcangel Daoana
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.
–Carlomar Arcangel Daoana
Sheer as a transparent quality becomes relevant when one reveals its reaction to the medium and ground. Paper may be fragile in its bare state, yet it remains sturdy for the artist to manipulate; Perhaps the innate ability of women to adapt to emotional situations such as creating is adamant. The openness is always present but beyond that, there will always be a sense etherial mystery.
–Raymond Escoto Carlos
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.
-Carlomar Arcangel Daoana
With our daily consumption of the ongoing Marawi siege, skyrocketing body count, and falling peso, it’s easy to be desensitized and think that we are safe from harm. Tokhang is only for the poor, or is it? But here at Salo-Salo Espesyal, whipped up by Kalye Kolektib, we offer you a smorgasbord of our individual and collective visions into what’s happening around us, hopeful that they can fill up your appetite for some real-life, meaningful action. We believe that rich or poor, addicts or not, all of us Filipinos share the same table where we are free to discuss issues and disagree with each other. Here are our delectable specialties that will have you shookt!, as the millennials would say. Kaon ta! Mangan na! Let’s feast!
–Carlomar Archangel Daona
In this, we are forced by our own curiosity to look and notice the delicate ingenuity presented. We then compare ourselves and ask how our perspective has been magnetized by our origin and the identity that we subscribe to, thus, conceivably creating similar versions of realities, which we are only made aware of because of the place we came from.
–Gwen Bautista
This is a collection of visual commentaries on loaded words, multi-faceted/double-faced people, real and imagined places and memories, mundane and everyday things, and altered states of mind.
-@eabrina
Triumph and loss, the extent of damage, or the prize, if any, may be subjectively determined by any of the players. Decay is uncertain, inconstant, unconstrained, and inevitable.
–@eabrina
The current state of Philippine art is such, that there is no well defined movement that is stirring up like it did in the 70s, which drew in all other art disciplines—not apart, but in fact—born of a widespread national revolutionary sentiment.
—Pablo Baen Santos