Who's filling up the walls of VOV?
Artist/Type of Exhibit : Ren Quinio
Date : May 11, 2017
Time : 6PM
An artist’s studio is the birth home of any artist’s vision; a room where each and every piece and part of an artist’s mind and soul is glued carefully together with great thought, passion and bliss, resulting to one’s perception of the world and a window to one’s own soul. Within its four walls encases a different world – a world that may be with or without reason but with life nonetheless. And like its four walls is the frame of mind, four lines drawn to envelop the vastness of one’s own untameable imagination, a space enclosed yet free to become and make anything become. A space where conglomerated memories, dreams and experiences come to life from different points in time be it during a good bike run, a lonely rainy day or just the typical daily grind. Yet despite the monumental mess the entire process brings, from start to finish, all effort exerted beholds the beauty of a piece without fail, for the artist has brought his frame of mind itself into the world within the frame of a canvas.
Artist/Type of Exhibit
Date April 19, 2017
Time 6:00 PM
“We transform the world, but we don’t remember it.”
- Daniel Pauly
On a weekday along the vehicle-packed streets of EDSA, traffic cones aid us through an ongoing construction. An excavation is underway to reinforce our roads or repair pipes in our drainage system. In every other block, a new high-rise building is being constructed. At this point, we have grown accustomed to men in hard hats, rebars, scaffoldings and construction machines. It is our current ‘reality.’ It is a case exhibiting the phenomenon of shifting baseline that harbors the idea that each generation defines the ‘normal’ and ‘natural’ based on current conditions and their personal experiences. In some cases, artists present the same collective reality and reflect it with its new iteration, allowing us to examine things through a different vantage point.
Van Tuico’s Under Construction, subverts our familiarity with cement, steel and other construction materials by molding them into works of art. A view of his works will not provide a pictorial reality that parallels our experience of navigating the streets; rather, it constructs a strangely familiar sense of abstraction. In it, he is able to animate the materiality of sidewalks, walls and pavements, forging new meanings to mundane objects. It opens a dialogue on how these materials we perceive as part of our normal street view take over our perception of reality; how they too, can be hanged inside our homes and installed in our private spaces. In Tuico’s hands, the objects marring the scenic views of the metro are turned into plethora of balance instead of partiality, a design of beauty rather than a corollary of necessity.
In Under Construction, Tuico’s appropriation of construction materials lends us a hand in navigating his artistic vision. In his works, the sidewalk pavement loses its permanence; rebars and steel exposes their vulnerability; and the endless possibility of texture is cemented. Each piece drills in questions to viewers, layering moments of introspection and calls out to our own sense of reality – our idea of the ‘natural.’
Artist/Type of Exhibit : Jeffrey Jay Jarin
Date : April 19, 2017
Time : 6PM
The fiddle-leaf fig (Ficus lyrata) is one of the most coveted houseplants. Grown as a houseplant, the fig easily reaches for the ceiling. In Jeffrey Jay Jarin’s “Dito Kita Iiwan,” however, the statuesque plant is left lying on cold concrete. The plant is robbed of any sustenance: its root ball has no shelter and the previously lush leaves have started turning into crisp brown. Whether the change in color is caused by too much water or the lack thereof, the plant will soon succumb to its inevitable demise. In this scene of neglect, however, the common butterfly palm (Dypsis lutescens) flourishes. Here, the creatures are not treated according to their value, but they live according to their capabilities.
In “Dito Kita Iiwan,” Jeffrey Jay Jarin returns to the characters of his previous works: unseen organisms lurking around and plants still bound by pots (or uprooted from its pot) within a concrete space. Amid the lifeless space, absence of man is the most natural thing.
The artist presents his characters in a state of vulnerability. Unlike his previous works, his latest works acknowledge the fluctuations of life: a philodendron whose leaf edges are turning brown and an uprooted fig. It’s not a question of intention as the artist left the plants to both grow and wither on their own.
“Dito Kita Iiwan” is not just an exploration of life and growth, but the artist draws you in the stillness to reflect on what you’re willing to leave behind and what you can sustain. And in your rumination, Jarin leaves you alone in solitude but never in desolation.
- Oliver Emocling