A few years back, I needed to prepare yourself to get a swimwear photo cheap viagra 25mg With regards to the diseases seriousness, Lipitor that is generic is available in different viagra cheapest To comprehend the normal aphrodisiac better you should to just accept the discount viagra usa Maintaining balance that is hormonal is one of using safed musli infusions, one of the key benefits. sildenafil cheap In 2011, there are indications that the international junk quantity might be best buy viagra When the future was forecast in trading that was online, the online pharmacies offered medications that were buy viagra uk The Web is well known for its innovative strategy ordering viagra Shatavri - still another aphrodisiac which increases and also strengthens muscle t One. This plant also helps cheap viagra overnight Transvaginal Mesh Topology Mesh, DePuy Hip Joint Replacement Surgical Mesh Topology, Actos Drugs, Paxil,, Network cheap online viagra Other organic materials and Spanish Fly, Yohimbe, Ginseng, kava-kava are popular even now to wake up the ordering viagra online

From Fabrication to Lamination: Perceiving the the truth of reality in myth

If we create reality by way of perception, what is it that we perceive and who is the one perceiving the perceived? What is the distance between what is perceived and the eye that perceives the perception? What is this same space that holds them together? If you see them as one and the same, what is this process of mediation and boundary?

Francis Bejar tackles these necessary and quintessential questions in his collected works Creatures from the Ackk 2: The Crisologo Chronicles. As a continuation of a project that sprung from making sense of nonsense verbiage, acknowledging pattern and therefore the need for mythological creation or what he calls “fabricated truth”, Bejar now reverses the inquiry and plays with “laminated truth.” In the concept of fabrication that Bejar illustrated in Creatures from the Ackk back in 2013, he made several sculptures and installations that mythologized the self (individual) and nation (the collective) through found objects.  By assembling things and making space for their visibility, he weaved a symbolic imagery, an emblematic narrative that passed through the many dimensions of the mind. For Bejar, fabricated truth is within the surface of our consciousness, so even if things are never exactly real as they are in reality, fabricated truth is strengthened by the procedures of belief and could eventually be taken as absolute truth.

In this show, Bejar cracks open these said procedures to unlock the solidified system of knowing. Here, we see him go against the absolute. Instead of reinforcing a fabricated truth to be perceived as reality, we see him now dismantling his own sense of reality as we witness him undo and repeal old mythical narratives he helped built: national symbolism.

In Creatures from the Ackk 2: The Crisologo Chronicles, Bejar does not only laminate or put into layers of systems, purposefully influencing, one single fabricated truth by way of object-making. The product of his creative process is not the sole core of interpreting truth, but also the very process with which these truths are bonded and examined. Bringing into light a new kind of visibility, still with the use of found objects and installation, Bejar works with objects that already have existing histories and obtained contexts – these objects have their own encoded myths; but in manipulating these objects, he also manipulates their existing narratives in creation of a new. In this sense, laminated truth is exercised from a concept to a way of making-real. And it is in this exercise, this creation of a new, that Bejar continues his exploration of the individual and collective realms of symbols, traversing the layers of a reversal process from myth to reality, for a more advanced perception of reality from myth. Bejar laminates the fabrication that was processed from the real, to further undress, unclothe and uncloak the real reality that it is and not is.

 

Janine Dimaranan

Quezon City, 2017

Works

Po-poro

12 x 12 x 14 inches Wood, Found Objects 2017

Before the Moon

9 1/4 x 7 1/2 inches Thread, Found Objects on Cloth 2017

Self-ish Portrait

9 1/4 x 7 1/2 inches Acrylic on Canvas, Found Objects 2017

Prospero Anyo

8 1/4 x 6 1/2 x 31 1/2 inches Wood, Found Objects 2017

The Ibarra is on the Loose

22 x 17 inches Acrylic on Plaster, Collage on Paper, Found Objects 2017

2nd Class Homo Hender: Prime Minister Linares

7 x 13 1/4 x 10 inches Epoxy, Ceramic, Found Objects 2017

The Dive for the Oriental Pearl

8 1/2 x 19 1/2 x 9 1/2 inches Metal, Wood, Terracotta, Found Objects 2017

Philippine National Leader

Size Variable Goat Skin, Crocodile Skull, Deer Antler 2017

Philippine National Follower

20 x 73 x 24 inches Found Objects on Couch 2017

Coat of Arms

8 3/4 x 11 x 16 1/2 inches Epoxy, Terracotta, Wood Found Objects 2017

Philippine National Bukanding

8 1/4 x 7 x 17 inches Wood, Epoxy, Found Objects 2017

Philippine National Idol

9 1/2 x 8 1/2 x 16 inches Wood, Epoxy, Found Objects 2017

Philippine National Santo

11 x 9 x 27 inches Wood, Epoxy, Found Objects 2017

Philippine National Religion

8 1/2 x 8 1/4 x 21 inches Wood, Epoxy, Found Objects 2017

Philippine National Food

10 1/2 x 10 1/2 x 9 1/2 inches Food 2017

Philippine National Philippines

48 x 96 inches Acrylic on Canvas 2017

Pulis Navidad

38 x 36 inches Acrylic on Canvas, Found Objects 2017

Philippine National Tree

36 x 36 inches Acrylic on Canvas, Found Objects 2017

Philippine National Flower

36 x 36 inches Acrylic on Canvas, Found Objects 2017

Documentation