FLORA

Golden arrays of flowers surround the images of women and children in Anton Mallari’s “Flora” where the artist suggests the regality of the female form and the intrinsic worth of innocence. What seems to be unfinished portraits are continued through an ensemble of flowers and ornaments as if nature had decided to complete the human form and vice versa.

Botanical symbolism is often used as a metaphor for virtue and grace seen here with resonating dream-like visions. The presence of mystical tendencies reminds us of how the Symbolist movement of late 1900 had used poetic representations of nature and reality to depict absolute truths that were long sought for. Mallari’s dreamy illustrations are reflective of the enigma that each subject holds. They sometimes appear with such directness and candor; other times they are wallowed and partly enshrouded in ambiguity. Hence, the female body is transformed into the same reverence often reserved for deities, while the portraits of children demonstrate purity among mortals.

The prominent use of gold in this exhibition is a technique influenced by traditions where the existence of the element loosely translates to the embodiment of light that can only be emitted through divinity, such as the light that surrounds goddesses. We remember the “Judgment of Paris” in Greek mythology, where Paris delivers the golden apple to the fairest goddess; the symbol of the golden apple reminds us of the value of the color gold, especially in relevance to what is of best importance. Thus, the subjects in these paintings release a similar kind of value and of a radiance that appeals to our subconscious as beholding sights. The presence of gold is demonstrative of the significant luster that emanates from every woman and child’s existence.

In “Flora”, Mallari reminds us also of how beauty and innocence can command strength and fortitude. The look of courage and power can also be found in these unfettered depictions of being. While we are lured in an enchanting presentation, it is equally important to note that “Flora” does not specify any particular time or place. Thus, the settings of these portrayals are unknown to us. This renders the pieces as timeless works that put the virtues aforementioned apart from any timebound value; as perpetual as the weight of gold and its value from ancient to modern times.