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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

Gaze by Miguel Paulo Borja


Miguel Paulo Borja
Dec. 11, 2014
Vinyl on Vinyl Gallery

"The gaze sees itself, the gaze surprises me; reduces me to shame. This gaze is not a seen gaze but agaze imagined by me in the field of the Other." ~ Jacques Lacan

When an artist creates art, he brings to life an inanimate object by giving it purpose and projecting himself into his art; and when a viewer gazes into a work of art, who is to say that the artwork does not gazeback, suddenly aware of its purpose, fleeting as it may be.

The term gaze is defined as looking steadily and intently at someone or something. This steady look, however, may be a look of admiration, surprise, scrutiny or even a simple thought. A gaze received by the viewer can be interpreted in different ways. The viewer struggles to understand the intent of the persongazing at him and ultimately projecting his own thoughts and ideas onto that person. The gaze acts as mirror that reflects what we want to see and how we want to be seen.

As we search for our purpose and meaning in life, we reflect on ourselves by looking at our life in the eyes of another. Objectively and subjectively unwrapping the layers of our past and present, hoping to find something that will define our existence and open our eyes to realities as well as possibilities.

In "Gaze", Miguel Paulo Borja imagines a literal depiction of this symbiosis between art and viewer, and ultimately between art and artist as he paints portraits that seem to gaze into the abyss and back at him, sharing questions of their existence and hoping that somewhere out there is a viewer in the abyss thatgazes back.

Child's Hood by Gabby Tiongson


Dec. 11, 2014
Vinyl On Vinyl Main Gallery

We each go through distinct experiences during our childhood. Experiences that mold and impress upon us memories that we unconsciously collect. No matter what walk of life, we all relate to similar emotional experiences during our early years. As children, our innocence allows us to encounter these emotions in its purest form. For example, the bliss felt when we watch our favorite cartoon show. At that moment, nothing else matters in the world. This feeling continues until one grows up and then reality sets in. As adults, we live in the real world while clinging on to that profound happines.

Adulthood bears many burdens of the real world. We worry about ourselves, our families, and our security to name a few. Anxiously agonizing over our responsibilities has become the norm. We contemplate on what our futures hold. More often than not, the emotional rollercoaster of life torments adulthood.

Tiongson says "I can no longer laugh the same way I used to as a child". His art reminds him of days when ignorance was bliss. He strives to capture and share those moments in his childhood where he genuinely belly laughed his face off without a care in the world.

He digs into his childhood memories and reflects it in his art today. For him it is the bliss of play which he holds on to that fuels his creativity. He grew up exposed to 90's toys, cartoons, comics, computer games, movies, and Japanese pop culture.

Tiongson thinks of himself as child-like in a sense that he yearns to feel the bliss of childhood. To cope with chasing that fleeting feeling, he surrounds himself with his aesthetics growing up. The immersion into cartoons, toys, music and play are what fills his void. This in turnis used as energy for creative output. His art practice is a journey of nostalgia. Tiongson creates characters that are reminiscent of his childhood but done in a corrupted manner. Whether he consciously or unconsciously does it, it is his way of finding Never land. He is searching for his child's hood that was all about enjoying the moment, an escape to a world wherein there are no bills to pay, no government to worry about, nor a supervirus to beat. He believes that it is his life's purpose to rediscover the bliss, that loss of innocence, and share it with his audience.

Friday, November 14, 2014

As We Lay To Bed by Dennis Bato


Nov . 14, 2014
Vinyl on Vinyl Gallery 

“Long story short . . . They forgot that they are all brothers and sisters cohabiting the same planet. So they kinda became delusional and imagined these invisible borders, Beliefs and structures separating them and started destroying each other and the Earth they live on . . . Instead of just living, sharing and evolving together. “

–Mike Adams & Dan Berger

Wake, eat, work sleep... and back to start, the cycle goes on and on just like a series of programs injected in our minds, morphing humans into mindless robots and foot soldiers.

Tradition, culture and beliefs greatly affect our society’s individual mindsets. In the verge of our modern stereotype era, everyone is shut in a delusion of living but in reality, turmoil and dismay lingers in each and every one of us. A temporary haven disguised in false hopes, greed, hunger, craving for something people want instead of need. Standards and practices create boundaries which entangle us in an imaginary prison cell that confines the freedom our thoughts seek, making every one a cliché in a mirage; the future we are reaching for.

The society is racing towards the path of technological advancements and breakthrough, which we can say that the human instinct for survival has set an enormous impact on the system imposed in our society. People have the capability of struggling to survive but lack the strength to live. The question is are we still moving forward?

“As we lay to bed” tends to revoke the ideology of modern mindsets which were trapped within the norms of the past, redirecting our urge to get out of the edificial casing, the standards and practices that is enveloping our society, and society’s main element – you.

Lapses by Jood Clarino

Nov. 14, 2014
Vinyl on Vinyl Gallery

I read a book lately. It’s about two young men, travelling the globe for a week – with minimal necessities – giving away thousands of dollars along the way. They have to get rid of it as soon as possible, and as much as they can. Of course I won’t tell you that the succeeded in the most hilarious, creative, and daring way they possibly can. I’d ruin the very reason you bought the book.

But that’s not the point. I’m thinking, why do we need all that money anyway? Is it for power, greed, for our needs? We don’t need much, so why want more? We all know – or heard from someone, maybe God – that from where we came from, we shall return. And from where we came from, it’s a very small, dark place to fit everything we had in life. I admire these young men, whatever cause they believe in to give that much bills. They not only liberate themselves, but they found a way to tell the world, hey, you listen to me, and you better listen well.

The art exhibited has taken new grounds to liberate life from the velocity of these desires. With the use of nothing but pitch blackness, spray paint, and quick dry paints; the art captures the image of life stenciled in honest simplicity. It features the process of complicating one’s creativity – which everyone starts from – but executes in a very simple way. The artist relentlessly practices to eliminate his wants, the greed that accompanies these wants, and the selfishness that resulted from that greed.
Jood Clarino shows us that true beauty is not having a beautiful life, but having a simple life that radiates genuine beauty is a beautiful life. Some of us – most of us, if we admit it to ourselves – tend to do the same mistake of making things much more complicated as they already were. With probity, the exhibit frees us from the clichés we’re so used to breathing in; paralyzing us, making us slaves of ignorance. But maybe we still don’t get it, maybe because we haven’t looked closely, or maybe we still want more. Look into his art; know the beauty of true colors in pitch darkness. Then maybe we’ll see that it’s very simple. And it’s beautiful that way. Celebrate with us tonight, with art, with food, drinks, and with the company – that in truth – is all we need. - Teng Sibug

Sunday, October 26, 2014

House of Horrors




Oct. 28, 2014
Vinyl on Vinyl Gallery

Some say fear is what keeps us alive. Fear is the basic survival instinct that tells us to run, hide and protect ourselves from the beasts and monsters around us. It is that spine-chilling, bone-tingling sensation that creeps up on us in the face of the strange and unfamiliar. It certainly doesn’t sound like something to be excited about, but on one particular night each year, people celebrate the dark and sinister side of life. And on several occasions, people flock to movie houses or gather in front of the tv screen to watch horror movies and shows. To purposely scare our selves is both twisted and fascinating. Is it to prove our selves brave or otherwise? Is it a reminder that such things exist only on screen? Or is it a representation of our real world nightmares and darkest fantasies? Whatever the reason, our obsession with fear is what we all subtly share.

House of Horrors” exhibits this dark fascination through adaptations of horror movie posters from the 1920’s to the 1970’s. These vintage illustrations were artfully created to entice the audience and add to the suspense of watching an hour and a half long clip of vampires, aliens, zombies and the like.


Artists Anjo Bolarda, Lala Gallardo, Yeo Kaa, Keb Cerda, Tano Panaligan, Felix Rosales, Rommel Celestpara, JR Urao, JP Cuizon, Bjorn Calleja, Whooop, Fabo, Rai Cruz, Randy Constantino, Mimi Salibio and Jessie Mondares created paintings inspired by the movie poster they chose with the freedom to incorporate their own personal style.


Saturday, October 25, 2014

See You Later by Thursday Room


October 1, 2014
Vinyl on Vinyl Gallery

“The idea of waiting for something makes it more exciting.”
-Andy Warhol

Having the ability to foresee the future, in all its ubiquitous glory is, of course, ambitious but possible. If only we knew what would happen, we can clearly avoid repeating mistakes and we can easily make elaborate plans that will take us one step closer to success and happiness. Life can only give us hints and we can only have gut feelings. But sometimes our instincts mislead and we can’t decipher any hints, so we anticipate. 
Certain creatures, not limited to human beings, possess the capacity to anticipate or to do mental time travel. In order to anticipate the future, the mind must travel to the past to relate and evaluate experiences, actions, or habits that produce a certain event or situation. In this fleeting moment, characterized by high hopes and optimistic longing, one recognizes the purity of one’s desires. It is pleasurable and intoxicating, taking us deep to our innermost thoughts where our expectations are free from doubt and regret. This phenomenon has been a constant motivating force of change.
In their first solo show, Thursday Room presents “See You Later”, an anticipatory glimpse into what the future holds if they could only pay enough attention to the present. Looking through predictable patterns that unconsciously affect one’s stimuli, the artists flourish in their own niches.

Thursday Room is Chi Jihan, Eldzs Mejia, Fold Canela, Jill Adolfo, Kris Abrigo, Soleil Ignacio and Tokwa Penaflorida. 



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

www.vinylovinylgallery.com vinylonvinyl@gmail.com

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