Exhibitions

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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 >

The Diary of Jellyfish Kisses

The Diary of Jellyfish Kisses

Artist/Type of Exhibit Anton Belardo

Date Feb 11, 2017

Time 6 PM

Who is Jellyfish Kisses?

Jellyfish Kisses, was created by Anton Belardo not only to represent himself as an artist, but also to reflect an emerging side of his own persona. She is not a fictional character, but rather a semi-incarnate form of his constantly evolving traits—borne of social awkwardness and avoidance. Anton and Jellyfish Kisses live as one, sometimes chaotically, sometimes harmoniously, achieving balance through contradicting and complimentary ideas. The more time they spend together, the more they merge, in effect creating one seamless individual.

 

Chapter One

Bed Stains: How they got there

Bed Stains is the first of several chapters. It revolves around the bed— the most personal piece of furniture one can ever own. The relationship between a bed and one’s intimate moments is much like the relationship between a diary and one’s intimate thoughts.  The exposed sheet serves as the blank page, waiting to be filled with one’s hopes and dreams, one’s deepest darkest secrets, oftentimes ending in pleasure or in pain.

This chapter explores the artist’s experiences with love, sex, and mental health. Every lover embodies a distinct memory—the wrinkle of abandonment, the stained expectation, the messy truth. What starts as a perfectly made bed, ends as a crumpled heap. But a new day begins, and one awakens despite the burdens of the past. The bed is made once again, and life goes on.

The artist journeys to the past to reexamine some of these failed attempts in an effort to gain perspective, to fully understand what happened. It is a painful yet cathartic exercise.

But letting go was never meant to be easy.

Each painting is a page within the chapter, a fraction of the artist’s story that will eventually be seen as a whole. The days in and out of that bed are seen through moments of clarity, of confusion, of isolation, of suffocation. More often than not depression is a constant companion, a part of everyday life—as ordinary as a pair of shoes. Sometimes the shoes are shoved under the bed, forgotten, sometimes they beg to be worn, clinging not to the soles of one’s feet, but to the souls within. It is through this process that one learns to cope, to heal—to go on living.

 

Bed Stains: How to spot them

Walking into a pink frilly room, everything seems normal, the veneer intact. But upon closer inspection details emerge—a semen stained sheet, tears on a pillow, a false eyelash in a carton of uneaten food, a puddle of vomit by the bathroom door. The veneer distorts itself—confusion, delusion, misconception tucked within the folds of reality. It becomes unclear whether the scene is a memory, or a moment trapped between a cotton candy-colored nightmare and consciousness.

The bystander is curious at first, delighted by the bright, and the pretty, and the cute. But it doesn’t take long for discomfort to appear, making them sweat, making them step back and look away. Because the bystander isn’t prepared for the ugliness—they only want to see that pink frilly room.

Nothing else.