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Wednesday, March 4, 2015

Tropes of Expectations by Manuel Ocampo, Javier Arce, Juan Carlos Quintana, Carlo Ricafort, Timo Roter


When Private Ricafort, Private Quintana, Private Arce, Private Ocampo and Private Roter met the first time in 1965 it was the hottest December day in the history of Vietnam. Not knowing that there was no right and wrong they were still fighting with General Nguyen, whose nickname for them was Sgt. Sio-Mai, against the intruders.

The 5 were the only guys digging tunnels that time in Cú Chi, listening to b-52's (the band!) when they accidently hit a wormhole with their shovel which threw them into an alternate universe.
General Nguyen was a wealthy man so he cloned the 5 and sent them back home to their places.
Through the telepathic knowledge the 5 got when they entered the alternate universe they are now able to operate and direct their clones and let them paint what they see in their Galaxy.
After 50 years the original 5 met the first time, they are sending now their clones to Manila to have their first groupshow at Vinyl on Vinyl.


Sunday, February 15, 2015

False Assault by Patch Quinto



Usually after spending academic years, whether you've failed it or not, questions raised about life and how to live it, transforming learning to mainly just earning, bringing yourselves toward the promise of what has been subliminally dictated to you as "the good life".

You wake up, you check your clock. As a weird sedating consciousness latches onto your head, with its central incisors making its way to your cranium as it tears your thin scalp. Your jaws lock, eyes  twitch as a rapid sequence of images is about to enter your automated condition in the mundane fills your brain. Struggling with routines, tangled between the weaves of work assigned to you as a peons in the service to whatever company you are tied to, striving for each quota-per day required, flowing in a unison as a member of the labor force. You drown in your right thoughts and clouded judgement as you try to live up to this striking consciousness that crossed your mind and you find it impossible to mobilize because of the uncertainty of where this consciousness would lead you.

It's Patcho's second solo exhibition, the expansion of consciousness appears to be malignant in offering us severed details in relation to what he encounters as an active participants of the labor force. Unsettled though limitations and confinements defined his job as a graphic designer for websites a continuous progression on his art practice results to a non-secular type of production that includes basic elements composed of repetitive lines, shapes and outburst of colors illuminates multi-layers of amalgamated images creating a monotony of satirically animate/inanimate subjects. The inclusion of popular visual tropes draws his viewer towards analyzing Patch's critique about the effect of popular media in a larger spectrum. Anatomically grotesque representation of dissected human flesh raises discussions and coherent inquiries of the basis of questioning human perception and behavior. Moreover, his familiarity of using lines as a continuous transgression from each subject to another consistently projects the whole series of works.

Importantly, lest we forget the artist exhibition of his recent works must be examined in acquiring his own solutions on his capabilities in transforming significant observations and progresses based on his daily routines rooted in his art-making. It's not product itself produced as a graphic designer or as an artist but how he manages and still enjoy to co-exist between to similar dichotomies.

Art Unfair At The Leenk by Romeo Lee


Wednesday, January 28, 2015

Pieta by Tokwa Penaflorida and Mayi


The bond between mother and child is bound by the instinct of nurturing. It is the core of all things living, from the conception of galaxies to the most minute organisms. It is eternal, bypassing death, like a piece of art that continues to inspire people through time.  
Michaelangelo’s, La Pietà, inspired mother-and-son artists Mayi and Tokwa Peñaflorida to illustrate the bond between mother and child and to juxtapose it to the concept of creating art in their two-man show, Pietà. Mayi, whose influences include John William Waterhouse and William-Adolphe Bouguereau, twists the classical style with contemporary form, morphing the human anatomy: enlarged heads frame oversized and glimmering eyes, svelte necks and limbs, clothed in an intricately detailed drapery. With the works of Gustav Klimt and Alphonse Mucha as his inspiration, Tokwa maintains the dark, dreamy, and romantic qualities of his paintings in which he is known for.
The two artists’ style, although starkly different from each other, converge as they explore the softness and caring nature of motherhood. Their main piece, Pieta, is a reinterpretation of Michaelangelo’s famous sculpture and is the cord that holds their show afloat. Mayi painted Christ, while Tokwa painted Mary—the son painting the image of the mother, and the mother painting the image of the son. This creation process is a symbolic illustration of their concept, the mother who conceived and gave birth to her child, is a part of her, and it is her that truly sees—feels—the suffering of her child. Same as with the son, who was nurtured and cared for by his mother, and has an astronomical emotional connection with her. 
The creation process of any artist—writers, sculptors, painters—is similar to a mother who carries a child in her womb. The artist’s womb is his brain, where the concept is the unborn child, nurturing it with his observation of the world, his visions, and inspirations. He feels the strongest attachment to it, as it is his, made by his own synapses and neurons and emotions. As he executes his art, on paper or marble or canvas, he delivers his child into the world. And at that point, his child is no longer entirely his—it is now for the world to see, and for the world to nurture. He becomes physically parted from his child, forever.
However, this feeling of loss, solidifies the unseen, maternal bond. Pietà by Mayi and Tokwa Penaflorida is not a representation of this—it an incomplete experience, where the audience is given space to conceive.


Stripe by Arkiv Vilmansa


16:26 by Renz Bautista


“For what is a man profited, if he shall gain the whole world and lose his own soul? Or what shall a man give in exchange for his soul?”
Matthew 16:26 21st Century King James Version (KJ21)

I wonder if God can grant us to bet our soul in exchange of something we really want. I wonder if someone can make our dreams come true in exchange of our own soul. I wonder if we can exchange it for immortality or god-like power. I wonder if I can sell my soul in exchange of peace. I wonder if I can give my soul in exchange of freedom. I wonder if I can just give my soul in exchange of nothing. I wonder if I can trade my soul in exchange of eternal sleep. I wonder if I can trade my soul to limitless happiness. I wonder if I can wish infinite time in exchange of my soul. I wonder if I can trade someone’s soul in exchange of my wish.

I wish I could trade something else rather than my own soul. I hope I have a soul to trade in exchange of my wish. 

Based on the Bible verse from the book of Matthew, the concept behind Renz Bautista’s first solo show was described by the artist as serendipitous and inspired a deep insight into his personal psyche.

His paintings were borne out of introspection which come to grips with some of life’s most profound questions. His process encouraged a personal dialogue on the trade-offs that we make in our day-to-day lives.
Through his use of layers and layers of paint and paper, he realizes the complexities of these exchanges and hopes to discover clarity amidst the disarray that casts a looming shadow over him.

Born in Cavite yet a pure Bulakenyo, Renz Marrione Bautista is a personification of youth with a heart for art. Bautista is a Fine Arts major in Advertising student of Bulacan State University who has exemplified his skills in different fields. He has topped visual arts competitions like the 4th Cocolife Colors of Life Student Visual Arts Competition – Runner up (College category), 2011 National Student Art Competition (Art Petron) – Grand Prize (T-shirt design) and Semifinalist (Painting category), 43rd Shell National Students Art Competition (NSAC) – 5th honorable mention, 2010 & 2014 Metrobank Art Design Excellence (MADE) – Semifinalist, and, a grandprize winner in the 1st Bulacan State University Painting Contest.

Aside from his artistic excellence, Bautista has contributed in BulSU’s official student publicaton, Pacesetter, as a member for 3 years and the Art Director for his last year. He has won Regional and Luzonwide press competitions in editorial cartooning and comic strip drawing.


Thursday, December 11, 2014

Melting Point! by Rai Cruz, Quatro, Tyang Karyel


Dec. 11, 2014
Vinyl on Vinyl Gallery: Left Wing

MeltLab is a group of three street artists who have come together based on
the common idea of melting individual boundaries and working together as a
unified entity. Their challenge is one that allows them as well to move beyond
the streets that they have individually navigated, to spaces that will engage
with their artistic task of making art that is functional, and is not merely
hung on gallery walls or homes. 

Rai Cruz, QUATRO (Quatro Los Banos), and TYANG (Carriel Santos) are
MeltLab and they work in various forms of art such as: painting, customizing
objects, assemblage, murals, and public art. Their specifice experiences in
public spaces that has allowed MeltLab to believe in the ability of the visual
arts to genuinely connect with people, and their goal as well is to establish a
business that is a reflection of this belief.

Any space – from city streets to home interiors, blank rooms to bars –
can be activated by an art piece, one that initiatesand encouragesreflection
and critical thinking. The practice of public art reminds us that while
television and technology have captured people’s attention, spectators engage
with the visual arts differently, where Interaction is one that’s about sitting
and staying, and having conversations. 

MeltLab levels up the spectator’s conversation with art by
re-envisioning these as functional and familiar objects such as common
household furniture. It is this combination of normal and standard shapes and
furniture vis a vis the extraordinariness of the visual art that will adorn it,
that is at the heart of this project. This exhibition is an antidote to the
prevalence of mass produced items, where we trust that an art audience would
know to appreciate the value – aesthetic, reflective, thought process behind –
one-of-a-kind hand-crafted pieces of functional visual art. 

MeltLab has long wanted to work beyond the spaces of the streets and
beyond our usual canvasses of wood / cement / paint. Without a doubt, working
on simple functional pieces and reworking these into art pieces can only be a
level-up to the work we usually do. -Katrina Stuart Santiago

2F, Warehouse 2, 2135 Chino Roces Avenue, Makati Philippines

www.vinylovinylgallery.com vinylonvinyl@gmail.com

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