Essays

Televisual Painterly Gestures. Gwangju Biennale 2018. Pavilion of Philippine Contemporary Art Network

Televisual Painterly Gestures.

Gwangju Biennale 2018. Pavilion of Philippine Contemporary Art Network

The painting studio is an intimate space where ideas are cultivated and gestures are performed.
Like a hothouse, it is a site for self-cultivation. It exists within a larger world, yet must thread its
own axis which swirls around the borders of reality and imagination. Its direction is orbicular,
constantly creating curiosities, doubts and beliefs.

To prod painting’s Other (unknown sphere), I explore the reconsideration of the brushstroke as a
performative signature of the mind’s interiority and the individual aesthetic gesture of the body’s
phenomenological sensitivity to all that are present in the painting studio. Thus, I transport the
painterly swaths from the studio to a computer digital lab to a printing press to a glass fabrication shop which result to the creation of a new team of hybrid sculptures with subsequent
corporeality.

These sculptures then perform as actor-protagonists in a phantasmagoria of succession of
televisual images in a digital video titled “Televisual Painterly Gestures”. They are released to the outside world, as a video camera captures these cross-fertilized and hybridised illuminated sculptures as they traverse terrains of the Big Sur in California, New York’s Long Island, The Philippines' Baler, Tagaytay and Manila Bay and Gwangju’s Mudeungsan Mountain. In their abstract play of illumination, color, image and sound, the televisual hybridised forms challenge the language of description and the language of television while exploring abstraction beyond the merely non-representational and formal.

In my installation at the pavilion of the Philippine Contemporary Art Network at the 2018
Gwangju Biennale, I attempt to liquefy the autonomy of the the unique painterly swath and to
break down the pliable borders between television, abstract painting and sculpture. In the exhibition, I use glass as an essential material that adjoins the spheres of the televisual with the painterly and the sculptural with the illusionistic. Glass is the border that holds together potentially obstinate structures of disparate mediums of artmaking. It creates a sturdy frame that consolidates ungovernable electronic moving images and acts as a sculptural piece on its own.

The Crafstman House. Reserve Ames. Los Angeles, California. 2014


I create site-specific painting installations that examine painting’s constituent elements: paint (color, luminosity, translucency and texture) and support within a system of deconstruction, recontextualisation and intervention. The search for an illumination that rests between the space of the interiority of my mind, the materials I use and the physical condition of the space I am in which drive me to paint and to create these installations. This light is elusive and amorphous, always beyond reach. It is an illumination that lives in and between paint, people, objects, situations and nature that I attempt to consolidate in my painting installations.


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