Exhibitions

Who's filling up the walls of VOV?


3hrs-poster-copy-436x566

3 Hours

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

 

artworks >

2-436x657

However

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.

artworks >

TIMO-Poster-436x657

Better Than Good But Worse Than Bad

Artist/Type of Exhibit

Date March 03, 2017

Time 6:00 PM

“For those talking behind my back, beware of my fart.” Timo Roter misreading Francis Picabia.

artworks >