Intension: Capturing Tension and Making It Visible

Intension which opens at Blanc on January 27, 2018 features the latest works of artists Arturo Sanchez Jr. Isidro ‘Manong Jon’ Santos, Michael de Guzman, Siefred Guilaran, Hamilton Sulit, Gretel Balajadia, Severo Baring III, Mark Francisco, Leonardo Onia Jr. and Lyndon Maglalang.

Three things are common in ‘Intension’ works and the participating artists. One, the works are done by Angono and KUTA artists belonging to the third generation of painters in Angono, the Art Capital of the Philippines. Two, most of them were participants in the historic Cultural Center of the Philippines exhibit in 2016 which highlighted the contemporary and modern art-making process in this town whose artists are grateful for the contribution of National Artist Carlos ‘Botong’ Francisco. And three, the younger participating artists have looked upon the elders as their teacher in a mentor-apprentice relationship.

These artworks lead us to two worlds between the past and present or in instance before the syllogism of binary moments called uncertainty, revealing its uncommon and uncharted taste, smell, look, and surface.

For instance, death is palpable in Arturo Sanchez’s ‘Onslaught’ depicting a possible tragedy punctuated by a scene with fragments floating and seemingly shooting the audience/viewer. “Resentment” reminds us of victims of intra- or state violence but disappointment and apathy are mixed with disgust, sadness and call for justice.

Severo Baring III’s ‘Leftover Feast’ is an imperative on physical survival amid highly competitive and consumerist society. This is seconded by Christian Carillaza’s market scene work featuring the innards and intestines of animals which were cut in in slaughter houses, yet Christian expounds the need to retell stories and histories behind the market scene when he chose to pour out the intestines out of the market wall.

“Space Between the Drops” of Hamilton Sulit visualizes the five stages of grief between life and death, referencing his work to Franz Xaver Messerschmidt’s famous sculpture. Here, Sulit emphasizes that death as an experience – despite one’s denial and unacceptance — is as concrete as the stone immersed on water that dissolves or melts slowly. This death, however, could mean the other’s beginning and reliving, as Isidro ‘Manong Jon’ Santos’ ‘Panibagong Buhay’ suggests, in which he pointed out – literally and figuratively – that growth and adaptation inspire plants and moss to grow on unusual places like flyovers, building walls, and even tombs.

Severo and Rando’s collaborative work entitled ‘Marigold’ traces the death of and violence against a woman who works as a prostitute, and whose death is exhibited as if it were a prize.

Gretel Balajadia, Siefred Guilaran and Lyndon Maglalang explore the insight of reclaiming memory and self-reflection.

Balajadia’s ‘Nobody is From Nowhere’ pays tribute to her father, using an old photo as reference to highlight the need to value fleeting moments with our parents and loved ones. Guilaran’s ‘Come Back Series’ feature old photos and paper using a  mixture of black and white oil on canvas akin to pointillism to highlight the reconnection and retracing of memory and the past of his personal life, family and Angono history. Maglalang’s ‘Apart From’ reconnects the person to nature, emphasizing the insight on being grateful to what Nature and the surroundings provide us, no matter how small or seemingly insignificant these blessings.

Michael de Guzman’s “God Sent Her Angels to Touch Our Hearts” highlights the kindness of individuals as form of God’s intercession and healing so that human beings may live free from hatred, jealousy and greed.

Imbued with the knowledge of what was and what has become of us, “Intension” captures tension and images of emotions and sensations far from quiet and neutral. The dark and earth-tone hues dominant in the works exhibited teach us that while “dark days” and tension displace us visually and psychologically, these instances become tools for positive dissent when used in disturbing the peace and in our own reawakening.

By Richard R. Gappi