Memory Escapes My Head Like a Blur
06.13.2013 - 07.01.2013
In Memory Escapes My Head like a Blur, Dave Lock ponders the fragility of memory; the paradox in how a passing memory’s significance is rendered insignificant by the fate that awaits it; the illusion of life as collection of memories suggests, as it gets shattered by the truth that time will bring about our eventual demise. Lock imagines the river of remembrance like a hazy dream, a blur, destined to drift towards the end of a hollow dimension until the memory of one occurrence becomes indistinguishable with another and its associated imageries fade away into oblivion. It is within this confusion that he finds an odd sense of comforting paranoia, which then registers itself through his free flowing artworks.
06.13.2013 - 07.01.2013
Aianthous is a botanical term meaning “ever flowering”. In her last two exhibits “Cornucopia” and “Clay Life” Pettyjohn began experimenting with forms taken from cacti and corals, fascinated by the intricate patterns they generate. High fired stoneware and porcelain ceramics are a perfect medium for this exploration, the plasticity of clay and the rich surfaces produced by gas and woodfiring lend themselves well to this expression.
In this exhibit Pettyjohn has moved a little towards a simpler and more abstract interpretation of nature, her pieces resemble flora but on close inspection can’t be identified as any particular species. Her latest work seems to be an attempt to distill the essence of natural patterns into something new and completely her own.
There is another meaning of flowering also. After 25+ years of teaching and passing on her art and mentoring two generations of young artists I think we are witnessing a flowering of clay work in the Philippines, in no small part through her passion and dedication.
Contemporary Philippine Ceramics is now truly an “Aianthous” growth.
From a Distance Beyond 18 Inches
In this current exhibition R.M. de Leon transforms classic imageries anew, eliminating the mystifying respect for the “old” and the hype for the new.
In Dig, Albor continues to focus on the fundamentals of drawing and the ways in which it reveals, through the physical act of mark-making and gestural painting, a site of excavation and construction. Using paper, graphite, paints, inks and pigments, she employs a method that places her directly onto the work surface--bypassing any sort of premeditated approach--where a physical relationship between the artist's hands and chosen material is forged, tested and redefined in a cyclical, intuitive, and sometimes labor-intensive process. This is manifested through an amalgamation of lines, strokes, drips, spills, scratches, tears, smudges, erasing, shading, spraying, staining and rubbing—where each unique gesture paves the way for the other, freely navigating space and scale, offering meditations on the compositional strength of unbound impulses and movement.
January 01, 2013
Monday - Friday: 11AM - 7PM
Saturday: 10AM - 6PM
June 25, 2012
Mark Valenzuela, Riel Hilario, Zean Cabangis and Mervy Pueblo among 12 shortlisted at the Ateneo Art Awards 2012