GROUP SHOW

a whisper instead of a lecture

"Art objects are considered live social beings whose aesthetic value, significance, and emotional efficacy are subject to change in the course of their mobility through time and space." Thanks to the kindness of collectors who loaned valued artworks, we may have a redesigned aesthetic experience of old creations by Annie Cabigting, Roberto Chabet, Mars Galang, Nilo Ilarde, Geraldine Javier, Manuel Ocampo, Bernardo Pacquing, Gerry Tan, and Oscar Villamiel. The stage is set for a fresh viewing courtesy of the thoughtful exhibition production. Works are arranged to have contemporaneous dialogues with each other. Even with the invisibility of this labor, immersion is vitalized within the sensorial sphere. In the anthropological study of art, it is acknowledged that artworks have performative lives that intend to mediate symbolic significance. In this time and space, we are encouraged to enact a silence sensitive to the murmurs of awe or sublimity, to locate our sense of self through the resonance with the artworks on display. (Con Cabrera)

VERONICA PERALEJO

Parallel Landscapes

Veronica Peralejo investigates the dynamics of manipulating space to create a visual spectacle of multifaceted landscapes. Her artworks are often referencing familiar objects, and imageries, constructed into witty hybrid abstract formations.

 

In a new series of works, Veronica Peralejo uses landscapes as an existential metaphor.  The artist suspends an eggshell in a hand-bound book as she tries to interpret life tunneling through space and time, bridging the present, with the past, and the future. The cut out landscapes are deconstructs of imagined spaces where our known reality ends, and the vastness of the universe begins.

 

Veronica tries to develop forms that do not follow logical criteria, but are based entirely on subjective associations, with which the viewers can establish a new spectrum of formal parallelisms. 

ND HARN

I Don't Want to Talk About It

Our lives flow beyond the surface of what we can see from the outside. Our body is but a vessel which houses a far deeper and richer world living within us. In moments of silence or reflection, we are brought to a space where we experience a feeling of immensity and expansiveness unbound by physical limitations. It holds intimate secrets and records every dream, hope, desire, and memory. The nature of our inner world echoes the nature of life-giving water; we draw upon it to nourish, heal, revitalize and purify our very being. It enriches and validates how we come to make sense of ourselves. 

 

​However, even the waters of our inner world can be contaminated and fatal. Its depths can choke us and drown us with its force so strong that it can overpower and consume us. It can be toxic— remembeing every pain, regret, harmful habit and thought that are destructive in nature. More often than not, it can leave us broken and hollow. And what is both equally fascinating and terrifying is that it is easier to circle back in this state compulsively—to be in the dark. 

 

​ND Harn’s first solo exhibition reflects the inner space she finds herself dwelling in. The process of repeatedly printing chosen images serves as a metaphor to represent how these specific memories recur in her psyche and unknowingly stir strong emotional responses. And the instinctive way to address these moments is to cover it in scribbles in an attempt to hide what is lingering beneath the surface. To be constantly caught in this vicious and exhausting cycle—an endless push and pull, the artist can only say  “I Don’t Want to Talk About It”.

 

 

– Danna Espinosa

​The execution of abstract expressionism in painting takes a similar hold when the artist begins producing spontaneous markings and gestures, swinging within the spaces in the canvas. Here, strong patches of colors are mitigated by the softness present along the edges of each mold, a mise-en-scène that hints at vague formations of structures. Sheets of elementary shapes dominate the generality of the space bringing a surge of movement amid the crowded convoluted figures. This suggests the experience of being tangled in a lucid dream where the mind becomes both complex and simple in its inner workings. One feels the entrapment and escape half-heartedly. Stillness and action both attempt a conclusion from a dialogue among the senses.

​The unconstrained movements and strokes possibly lead Baldovino to an exploration of automatism but not entirely suppressing total control in the composition. Blocks of shapes and colors direct us to the mechanism of Baldovino’s process at work: recurring images that transport segments from one setting to another; a labyrinth occupied with configuration and symbols from the past, present, and, the imagined. (Gwen Bautista)