In the series of paintings which he calls Tragicomedy, Alfredo Esquillo Jr. displays his more surrealist bent. For these works, he makes repeated use of an image he christens as the wheelchair-jeepney. A product of his imagination, he paints this as a jeepney’s dashboard without an engine. Instead, the large wheels of the wheelchair appear to mechanically power the hybrid vehicle. Through the years, Esqui has employed this in several of his pieces: on its own in Third World, pushed around in circles by several buffoons in Survivor, carrying a load of cartons in Lipat-Bahay. He uses the wheelchair-jeepney as a device to underscore the hobbled and disabled state we Pinoys find ourselves unable to shake off, the legacy of repeated missteps by our political leadership. Another conveyance that we see repeatedly in his tragicomedies is the double-faced jeepney, two jeepney dashboards facing opposite directions. Esqui has used this as a metaphor for the Philippines’ lack of progress. The state has two drivers pulling it in opposite directions. Continue reading →
Just like the gradual onset of the rains that signalled the end to a long, hot summer, the word first went out in whispers that soon turned into a downpour of furious text messages. Winner Jumalon had finally finished work on his show, but nobody knew what to expect. And apparently, neither did the folks at Boston Gallery. Continue reading →
I first saw Brendale Tadeo’s work three years ago, in November 2007, at Art In The Park. I remember being attracted to the
Brendale Tadeo, "Machinas V"
blood red drips he used as backdrop for the distorted santo heads on his oil on paper pieces. At that time, he worked as an apprentice to artist Don Salubayba and did projects with Anino Shadowplay. A native of Zambales, he also became a regular at the workshops of Casa San Miguel, Coke Bolipata’s oasis for the visual and performing arts in that province.
Brendale Tadeo, "Machinas VIII"
Financial difficulties had forced Brendale to abandon his Fine Arts studies. But the desire to create kept him at the fringes of the visual arts scene. He attended short courses at the CCP and worked with the artist group TutoK. He learned composition by closely observing Elmer Borlongan. His perseverance has paid off. Next month, he goes back to the Philippine Women’s University as the first Art On The Verge scholar, a grant made possible by Rogue Magazine and Art Cabinet Philippines. He continues to help out at Casa San Miguel, where he now has been generously given studio space.
Dindin Araneta, Brendale Tadeo, and Coke Bolipata with "Machinas I"
For his first one-man show, part of his Art On The Verge grant, Brendale worked closely with independent curator Boots Herrera. In Machinas, he explores how machines have become extensions of the self, especially to those who depend on them to eke out a living. For the tricycle driver, or the messenger, or the bus driver, and even for the mangbobote who goes around scavenging for waste, the machines they work with on a daily basis act as their lifeblood, as vital to their survival as an artery or a lung. He uses photo transfers to create the figures on his mixed media pieces. Just as it was in Art In The Park three years ago, I thought his pieces came alive with the colors he chooses as his backdrop, the bright drips of magenta or green or orange.
Elmer Borlongan and Lisa Periquet
You do get a sense of Don Salubayba’s influence in this particular set of works. But then, this show marks a beginning for Brendale. As he moves on to take instruction in a formal academic environment, we hope to see his raw promise crystallize into something purely his own.
Brendale Tadeo, "Machinas VI"
Machinas ran from 29 April to 21 May 2010 at the Nova Gallery, Warehouse 10A, La Fuerza Compound, 2241 Chino Roces Ave., Makati City. Phone (632) 392-7741 or visit http://www.novagallerymanila.com
Art On The Verge is an annual grant awarded to deserving visual artists, 32 years old and younger, who wish to continue with their formal studies. For more information, visit http://www.rogue.ph or http://www.artcabinetphilippines.com
When Apolinario Mabini drafted the Malolos Constitution, he included a treatise outlining ten points which he felt incumbent upon every freedom-loving Filipino to hold dear. With The True Decalogue, Mabini called upon his countrymen to love and honor God and country above themselves, to continually strive for the nation’s independence, to treat each other as brothers, to make sure that they only allow leaders who have been duly-elected to rule over them. Continue reading →
I find them quite amusing, these globs and squirts and drips that Pow Martinez uses for his paintings. I first came across his work a little less than a year ago at West Gallery. Aptly titled 1 BillionYears, that show introduced us to Pow’s unique way of rendering figures, somewhat like the crude illustrations of primitive man. He had small pieces, nothing bigger than 2ft x 2ft, or 2ft x 3 ft if I remember correctly, of faces made from smears and clumps of paint. The kind you could also imagine up on the walls of a kindergarten. Continue reading →
In one of the narrow side streets that traverse the scenic town of Lucban, Quezon, Leslie de Chavez puts the finishing touches on four paintings. Continue reading →
In the absence of any exhibit notes or artists’ statements, it seems safe to assume that The Death of Death (Is Alive and Kicking) is a group show about death. Simply go by the number of skulls up on the walls of the Art Center at SM Megamall. It would have been nice to understand what went behind the more subtle, less archetypal works. But then again, sometimes a piece should just hit you, make an impact on first impression. After all, art need not always explain the meaning of life. Or in this case, death. Continue reading →
In what must be a first in Manila, the newly-opened Picasso Boutique Serviced Residences in Salcedo Village in Makati has
launched its art program. Done hand-in-hand with Art Cabinet Philippines, the hotel makes its public areas and third floor gallery available as venues for showcasing art. Along with room service, guests can look forward to changing exhibits, even on each
For those willing to brave the winter winds and record temperature drops of New York in January, Robert Williams‘ exhibit of paintings and sculpture, Conceptual Realism, runs until the third week of the month. For the rest of us, the James Kalm Report of artist Loren Munk provides a great taste of this show on YouTube. Next month, Williams, founder of Juxtapoz magazine, will exhibit more of his work at the Whitney Biennial. Continue reading →
