And Now We Wander Amid the Debris: The world we find, the home we keep 

What does one do in the wake of obliteration? 

In And Now We Wander Amid the Debris, Jomari T’leon collects the shards and attempts to make sense of reality with them through pensive oil-on-canvas portraits. A continuation of his first solo series Even If It Takes A Hundred Years, he picks up where he left off while shaping his narratives closer to home and shifting his gaze from the national front to more muted, personal narratives that show the unshakeable connection between the domestic and the universal.custom baseball jerseys nike air max sale mens cheap human hair wigs sex toys for women adult sex toys cheap soccer jerseys super bowl 2023 logo best couple sex toys nfl authentic jersey nike air max plus black nfl tshirt adult sex toys nfl shop chiefs wig sale cheap jordan 1s

Zooming in on intimate, domestic scenes, this series ponders on the different realities that shape a person—livelihood, strained issues within the household, conflicting ideologies, and personal battles wedged further under the surface. For T’leon, the specific places and spaces we’re planted in play a major role on how we grow and find our bearings within ourselves, the external world, and whatever else lies beyond the spaces we’ve already mapped out.

With the subject being mostly portraits, they’re fixed with a composure and air of passivity brought about by different reasons. For the artist, pieces “This time around”, “Hiss”, and “Midnight Sky” portray the subjects’ consciousness on the brevity of life and the passing of time. Riddled with existential fears of the possible futility of their existence and purpose (or lack of), there’s a quiet but palpable strain upon them.

Zooming in on the delicate inner workings of family and home, “Elephant in the room”, is about the unspoken things that affect the different members of the household but no one talks about to evade tension. While the size of the elephant may vary across cultures, we know—or are starting to accept that what happens at home ripples out across time somehow, sometimes throughout generations.

While the portraits were made to be passive, he also interweaves the active roles we each play—writing our own stories in the stage we call the world, such as in T’leon’s piece “Theater”.

So what does one do in the wake of an ending? 

Sometimes, we deal with the compost and do it all again.

Nikki Ignacio