Survival Imprints

By Czyka Tumaliuan

Still true to his obsessive-compulsive surrealist style, Jonas Eslao’s new exhibit taps into the collective memory to present biomorphic archetypes of what comes to mind when searching for the right directions to uncharted travel destinations. In this new series, Eslao tries to draw the cognitive landmarks people commonly summon to pave lost paths in the complex matrix of human memory.

At first glance, we immediately notice the size of the paintings, closely resembling small windows. This choice invites viewers to zoom in their vision and take a peek “inside”. The frames resonate the boxed horizon we look at when we’re commuting via the bus or train.

Looking “inside” transports us into a dream space that looks strangely familiar. In “Fleeing from Refuge”, we see cocoon-like depiction of trees standing on an unidentified floating platform juxtaposed with landscape images that gives an illusion of distance and depth. Déjà vu? Maybe it’s the time when you were staring blankly at the horizon through the car’s windows on your way to the cold mountains while Pink Floyd’s “Time” was playing on the radio. Whether it has actually happened or not, don’t be too quick in invalidating that strong sensation that you’ve seen the painting before, for that’s Jonas’ point—to capture mental montages of wanderlust imprinted in the back of our minds.

Mixing striking pastel with natural colors create a candid psychedelic vibe on the series, while the parallel lines and geometric shapes give a playful linear perspective on the beholder’s vision. The works almost

feel like they were made by an impassive alien on an acid trip, especially with the piece “A Prologue to Aletheia”. In this work, we see an unknown construction levitating on top of what seems to be a secluded beach during a bad weather.

Absurd and hypnotic, Jonas Eslao’s exhibition attempt to make sense out of memory, perception and actual sightings by merging the map of recollection and reality.

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