Oh Baby Baby It's a Wild World

Pete Jimenez’s drive to realize extensive experimentation of materiality and form continues with his latest exhibition Oh Baby Baby It’s a Wild World. His use of a wide range of repurposed media, from steel and ball mills to rubber and leather gathered through the years from various junkshops, takes on new forms as they are re-configured into abstracted art pieces. The materials’ aesthetic transformation aims to highlight its raw and inherent characteristics, keeping intact scratches, rusted fragments and markings. With minimal intervention and driven by intuition, Jimenez allows the media to speak for itself.


Although pregnant with history as seen in every trace of discoloration and streak, the materials are also given space to take on new narratives as they are arranged and shaped into novel, imagined and formalistic impressions. This duality produced by the forms is Jimenez’s venture to balance out the testimonies of the medium and the artist’s hand, especially without a direct intent or tale to tell. Seemingly random but fueled by his quotidian realities, his focus instead is on process, materiality and the possibilities of form.


(Iris Ferrer)


When Surfaces Misbehave

Jan Balquin continually disrupts her audience’s preconceived notion on the limitations of an image/object in front of them. In her current works, she attempts to chronicle the image’s physicality, immovability, and materiality. Balquin’s tendencies as a sculptor who creates faux realities with her material of choice has informed her reimagining of the ground on which paintings lie. In each of her works, she tries to blur the line between reality and illusion. As she furthers her inquiry, the audience experiences a gigantic wall enclosed inside a space; a canvas cut-out like a thin sheet of paper; an oil painting without a canvas nor a stretcher that folds and hangs like a piece of cloth; and paintings that start to misbehave.


(Lec Cruz)



Ranelle Dial's "Revolves" is a series of paintings and objects that document the process the motions of the earth's rotation. Similar to how a sundial functions, each work presents a portion of time as it moves from darkness to lightness and vice versa. Angled accordingly in 30 degree lapses, every hour in a 12-hr period is chronicled on each image, and is marked more intently through a parallel installation that shows the shifts of shadow and illumination with every turn.


Drawing inspiration from Martin Creed's 'Work No. 88' (1995), a crumpled piece of blank A4 paper into a sphere, and Latifa Echakhch's 'Globus' (2007), a print of a crumpled world map, Dial depicts another layer to the subject by translating it through paint on canvas. Formalistically, it turns into a challenge of whether one will be able to capture the same volume despite the change of shape. The pieces are also an extension of her 2014 exhibition titled "Pocket Its", a collection of crumpled manila paper illustration objects and most definitively a stain-like figure of the world map, and of her 2011 exhibitions "Hide Seek and Keep" and "Seek Keep and Hide", a set of oil paintings of various empty receptacles on bare almost eerily serene looking spaces as well as installative versions of maps.


This process of concealment and revelation has been a constant point of exploration for Dial, where the quiet becomes an entry point for indefinite questioning. Tension and a sense of anxiety can be felt in the act of creasing and wrinkling. What is intended to be flatly seen and 2-dimensional, as in a map, is obscured --- both hidden and revealed at the same time through folds, dents and creases. Definitive contexts and spaces are also made ambiguous as the act of crumpling literally merges varying parts of the earth. The focus instead moves to chiaroscuro and its imitation of the movement of the earth. Time then becomes the only overarching chronicle of the everyday regardless of standpoint --- a shared experience of the routine in mundanity.


(Iris Ferrer)