Who's filling up the walls of VOV?
Artist/Type of Exhibit : Tano Panaligan
Date : April 19, 2017
Time : 6PM
The age of the necrocryptids has passed. The Earth, scorched and stripped of every life there is, has been revealed once again as the blanket of pestilence and the stench of death itself was worn out by the winds and sands of time. Light shone through. The sun remained its course as it pursues the moon across the sky. The stars continued to dance, and the world still treads, faithfully, along the path it was given in the heart of the great expanse of the cosmos. There was hope for the world, as how thousands of years of history of war and plague and strife has shown mankind of its undeniable resilience. Yet the battle was vicious and mercy was little in the battlefield, and like a wounded soldier carrying himself home after war, the human kind was damaged. Damage irreversible. There was nothing left at all- the flesh and skin torn away, innards ripped asunder, and bones almost scraped clean, as how man was purged off of his own humanity. But despite such cruel misfortune, the soldier chooses not death that calls him, he chooses not to sever his ties to the living world to end his suffering. He stands up and carries on, with his rifle in hand and his flag, his colors flying in the blood-red sky that looms over the crimson-tinted landscape. He takes and plunders, whatever he needs to ensure his survival on his journey home. Mankind has taken what was left of the world; the tiny morsels of flesh and bone, anything distinguishable that once belonged to the living, regardless if it were from man or beast. They began to piece themselves together, start from scratch. Start anew. Humans are good at it. After all we have been broken time and time again, and whoever we were once piece by piece was replaced and renewed, until nothing remains but a new man. The changes may seem outlandish, but is not that the point of change? A bringer of new ages? A catalyst to a new renaissance? The moulting, the shedding of one’s old self to reveal the majesty of a new, better being forged by the fires of adversity and suffering, tempered stronger than it ever was? Eventually as humans continued stitching themselves back together, enlightenment continually seeped through from the shadows of their wretched form- a new path paved from the entrails and blood they have sewn into their flesh, but not towards the state of decay but towards the state of being. This is a new age; and as the great human species there is no other way to go but march forward, into battle, into time unknown.
Artist/Type of Exhibit
Date March 30, 2017
Time 6:00 PM
Tatlong oras lang naman ang hiram ko sayo,
ang sarap sa pakiramdam na alam mong may kahati ka sa piraso ng sandali,
sandali na pwede mong sabihing bawal kaya ikinukubli,
ang lugar na kung saan kayo lang ang may alam,
para makapunta alam mo dapat ang sekretong tawagan,
pinapabagal ang oras para madama ang bawat halik, yakap, at hininga,
isa to sa magandang paraan para tanungin kung sino ka?
ibubulong ko ang sagot na may kahalong kiliti,
pawis at laway sa kumot na puti,
ikapitong langit ay parehas nating narating,
musika sa aking pandinig ang iyong bawat halinghing,
kabisado ko na ang kurba ng iyong katawan,
alam ko na kung ilang nunal meron dyan,
kakaibang dasal ang hatid ng bawat bayo,
hindi ka santo pero luluhod ako
hindi ka pagkain pero kakainin kita,
hindi ka naman prutas pero bat may katas ka,
alam na natin parehas ang lasa ng bawat isa,
naging isa tayong dalawa,
wala akong pakialam kung ano ka,
salamat at di ka nahiyang ipakita kung sino ka
Artist/Type of Exhibit
Date March 30, 2017
Time 6:00 PM
“Paint bears physical record to expression of the human hand. It conforms to the trail of the brush being driven by impulse of the psyche.” - Jonathan Lasker
No matter how highly evolved complex machines our brains our, we are still just sophisticated ‘animals.’ We are creatures driven by survival and compulsion to control, gather and possess things around us. There is an inexplicable urge through the entire evolution of man to collect seemingly unnecessary objects and data. It’s the same compulsion that empowers and facilitates our sense of ‘control.’ As artists in the digital age, we try to investigate this phenomenon that also persists in the world of art. Our reflection may start from a simple compulsion to take photos of mundane objects in the streets to storing memories of random images. As active or unknowing participants of this culture, we desire to open a dialogue through our works, may they be able to provide a rationale or even raise more questions in the process.
In However, Neil dela Cruz transitions from abstract works that invade street spaces to pieces that become holders of spaces. His works serve as ‘artifacts’ that examine structures and forms that make our world. His quintessential saturated colors and scrape of paint reminiscent of pedestrian markings are substituted with muted tones and painstaking details. The tactility of paint that captures the creative moment of an artist remains the crux. It is this creative moment when dela Cruz finds a way to compile disparate elements of shapes, lines and patterns into one harmonic composition. His painterly gestures turn to materialization of fragmented thoughts, ideas, and images.
Neil dela Cruz’ works are attempts to capture the idea of a subject matter, instead of breaking down an image to its basic form. His pieces suggesting actual objects, places and ideas is a hint of the sublime, confronting us with absence rather than presence. It is the same absence of form that the audience are taunted to find for themselves – to make sense of the artist’s collected artifacts.