Exhibitions

Who's filling up the walls of VOV?


iya

Floating in Black, Dirty Water

Artist/Type of Exhibit : Iya Consorio

Date : Aug 2

Time : 6:00 PM

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savepoint

SAVE POINT

Artist/Type of Exhibit : Mayi Peñaflorida, Tokwa Peñaflorida, JC Peñaflorida

Date : July 4

Time : 6:00 PM

Superpowers and enchanted weapons. High scores and power-ups. At a certain period in most games, save points mark points of return, rest, and rebirth–bookmarking a player and his character’s journey in the digital narrative.
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In this special three-man show, Mayi, Tokwa, and JC Peñaflorida re-emerge in a save point of their own, going back to their shared experiences playing games in their old Play Station console. Growing up, the Penaflorida siblings would encourage and challenge their mother, Mayi, to play with them–sometimes even making her play an entire game for them if it gets too scary–and it has since been the artists’ favorite past time. More than just for enjoyment, games like Final Fantasy, Super Mario, Monster Rancher, Parasite Eve, and Bust a Groove have profoundly influenced the artists’ style and aesthetics. This is showcased in their Memories// triptych, where the artists’ differing styles are imprinted on a giant memory card panel: Tokwa’s Memories//LimitBreak, Mayi’s Memkries//Liberate, and JC’s Memories//Trance. ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
In hindsight, Save Point emphasizes not just the return to a specific time but also recognizes and appreciates the significance of departures. ⠀

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settle

Settlements

Artist/Type of Exhibit : Tammy De Roca

Date : July 4

Time : 6:00 PM

The habitat as subject makes the case for place-making one of the most touched upon topics in modern displays. With natural curiosity, we often look upon revelations of someone’s space to gather ideas about their more concealed personhood; the home as a reflection of one’s sensibilities. However remove the expressed sentimentality manifested in a setting and we shall properly arrive at a bleakness of a concrete box. A question follows: what shall then be collected from depictions devoid of direct personalization?

Tammy De Roca approaches this concept of looking upon residence for her exhibition Settlements, where instead of revealing the artist’s own exclusive space, De Roca virtually places the viewer before a barricade. Proceeding from a vantage of curious detachment, she reflects on her own history expressing her conscious lack of connection to past addresses. In her paintings, she makes references to local distinctions by portraying various tattered, makeshift entryways, allowing the viewer to know only as much as the artist knows herself. Isolated from the widely recognized concept of abode, presence before thresholds summons an observer’s curiosity as well as distinguishes the viewer’s physically delimited access or entry. This direct viewing reassignment

offers a contemplation on facades and disclosure. Such expressions made here extend, other than mystery, a visualized prompting of forbearance in uncertainty—projected charm and realism lend nothing absolute regardless of disposition.

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