Garcellano and Flores’ exposition begins with a consideration of six seed works drawn from the history of Western academic painting as an idea exported into the country. Anchoring their own works to these canonical points, the artists dramatize their subjective positions within the landscape of the contemporary Philippine gallery system.
Addressing the seed paintings in their own works, Garcellano and Flores have co-formulated a set of directives to inform their own independent studio processes. What results from this are solitary conversations with the shared history of painting as an established genre of art-making and as a keystone of the educational foundations of each artist’s training and identity. By situating the works together in the shared space of the gallery, another layer of engagement emerges, relating a narrative that is equal parts about the expectations of painting as a commodity genre and about painting’s character as a still-potent surface by which creative action might be effected.
Within the space they are presented—and because of it—the paintings begin unmooring themselves from the network of historical and economic complicity that frames the exhibition. This threat of disconnection, this possible loss of context signals dead ends and hints of aspirations towards discontinuity.
Artworks from the Show
After Greuze, considering a teleserye, Lyra Garcellano, 2016, Graphite on oil ground on hardbound books, 16¾×23 in
After Corot, minding the support, Lyra Garcellano, 2016, Oil and graphite on canvas removed from stretchers, 9×12 in
After Velasquez, unbalanced, Lyra Garcellano, 2016, Oil on canvas, 24×20 in
After Ruuysch, providing an analysis, Lyra Garcellano, 2016, Oil on canvas, 24×20 in
After Gericault, adding honey, Lyra Garcellano, 2016, Oil on canvas, 24×36 in
After Velasquez, unbalanced, W. Don Flores, 2016, Flashe and acrylic on canvas, 30×24 in
After Greuze, minding the support, W. Don Flores, 2016, Wall paint from previous exhibition in this space, size variable
After Corot, providing an analysis, W. Don Flores, 2016, Flashe and Prismacolor pencil on acrylic ground, 27×18 in
After Ruysch, considering a teleserye, W. Don Flores, 2016, Paint scraps embedded in gesso on linen, 24×20 in
After Gericault, adding honey, W. Don Flores, 2016, Oil on canvas, 24×20 in