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

The sad-eyed and pallid-skinned people that haunt Renato Barja Jr.’s canvases with their hangdog expressions are nowhere to be found in New Departure, a solo exhibition explicit in its desire to break with the past. Gone too are the large sweeping canvases and the sculptures that used to accompany each painting. In their place are small pieces, a few of them no bigger than a sheet of paper, divided into two series informally called “Works from a Room” and “Works from the Road.”

This exhibition comes after a personal loss that left Barja exhausted and burned out, pushing him to retreat further into himself. New Departure documents his internal exile and the resulting hyper-awareness of his immediate surroundings. “Works from a Room” were all painted from the vantage point of a bed—not one specific bed in one specific room but always a bed in a room—represented in the gallery by the lone sculpture installed in the middle of the space. From here, it is possible to track the recumbent artist’s eye and the mundane objects that arrested his attention: here, a television set; there, an exhaust fan; yonder, a rolling chair; somewhere, an electrical outlet.

Despite how austere these canvases are, one can glean from the details depicted by Barja what kind of room birthed each painting. A slightly askew decorative wall piece, the benign kind favored by interior designers, hanging above a table lamp inhabits a different interior from an oxygen tank or a piece of pork fat left on a plate. And just like that, with a few carefully chosen artifacts, Barja moves from hotel to hospital.

The other half of New Departure consists of scenes from Barja’s solitary bus and bike rides. Rusted galvanized sheets and floodwater-stained walls are accompanied by two triptychs: The Lonely Lane and The Factory, which both feature terse messages that take on existential import when read in the context of the exhibition.

The first, a gray-green smear of a highway seen through a window, is punctuated by a yellow road sign saying “SLOW” (“DOWN” is obscured but legible). The second, an abandoned building bordering on geometric abstraction, sees the word “FUGAZI” scrawled on a concrete wall. The etymology of “fugazi” is disputed but the one that resonated with Barja the most is from the English word “fugacious,” meaning “fleeting, fading quickly, transient.” (Fugacious, in turn, has Latin roots.) The factory was a fixture that he took for granted during his daily commute until the day it closed. What used to be a busy place enveloped in the sweat of human labor became a silent structure devoid of life, save for vermin.

The signs told Barja to slow down since life is fleeting. “Nothing really matters,” he says. “You have to survive but you also have to be alive.” There is a difference, after all, between surviving and living.

The introspective and contemplative mood of New Departure is mirrored in the dimensions of the works. In addition to conveying an added sense of isolation and intimacy, the small canvases changed the way Barja worked: the loose gestures of yore gave way to “more intense, more controlled, more disciplined” strokes. In a tight space, he added, details are magnified, framing and composition become more personal.

Despite the change in physical scale, New Departure still feels and looks like Barja. The cool palette and the occasional bursts of color remain, as does the melancholia. Leading up to New Departure, Barja was struggling to find the stories he wanted to tell. His previous outward-looking exhibitions revolved around ordinary people—a butcher, a construction worker, a commuter— with detours to the ignored underbelly of society. The epiphany that led to New Departure is simple, says Barja: “Everything is here. The answer is what is around you.” — ll, August 2017

Works

Hidden Love (works from a room)

12 1/2 x 16 inches Oil on Canvas 2016

The window and the book of poems (works from a room)

13 x 9 1/2 inches Oil on Canvas 2016

When the Witnesses are gone (works from a room)

25 1/2 x 21 inches Oil on Canvas 2017

17 years of boredom (works from a room)

6 1/2 x 9 inches Oil on Canvas 2017

Fire Escape (works from the road)

21 x 18 inches Oil on Canvas 2017

apartmet e (works from the road)

21 x 28 1/2 inches Oil on Canvas 2016

Everything will go back to nothing special (works from the road)

21 x 18 inches Oil on Canvas 2017

Solitary confinement I (works from a room)

12 1/2 x 16 inches Oil on Canvas 2016

Solitary Confinement II (Works from a room)

10 x 8 inches Oil on Canvas 2017

Solitary Confinement III (Works from a room)

10 x 8 inches Oil on Canvas 2017

Solitary Confinement IV (Works from a room)

10 x 8 inches Oil on Canvas 217

Solitary Confinement V (Works from a room)

10 x 8 inches Oil on Canvas 2017

Room 728 (works from a room)

13 x 9 1/2 inches Oil on Canvas 2017

The final days I (works from a room)

26 x 21 inches Oil on Canvas 2016

The final days II (works from a room)

20 x 24 inches Oil on Canvas 2016

Master's Bedroom (works from a room)

24 x 30 inches Oil on Canvas 2016

Un Made Bed I

Size Variable Epoxy, Styrene, Acrylic, Enamel & Found Objects 2016

gate 3 (works from a room)

9 x 18 inches (triptych) Oil on Canvas 2017

belle view (works from a room)

48 x 36 inches Oil on Canvas 2016

The Lonely Lane (Works from the road)

18 x 57 inches (triptych) Oil on Canvas 2016

The Factory (works from the road)

20 x 72 inches (triptych) Oil on Canvas 2016

the broken hearted view (works from a room)

13 x 19 inches Oil on Canvas 2017

Documentation