Wail from the Backdoor • Lynyrd Paras

Feb 15 to Mar 8, 2019 • Video Room

Disassembling, death, decay—the self’s ultimate destiny. It is Lynyrd Paras’ preoccupation, the mortal limits of the body. And the body, itself, even if still alive (presumably) leaks, wastes away, putrefies—a clean hole in the head. Body parts are fragmented, anatomized for all the world to see. “This is me, this is the body that you used to love.”

Everywhere there is an impending threat of annihilation. Even love is a knife to the wrist, a rope, a gun already pointed to the heart. Love is death, and death is its own reward. A flash of small light from a car tumbling into abyss. The eyes open but seeing nothing. The bliss of oblivion. The forever darkness.

Paras’ art is his suicide note. He paints people not as an artist but the one cursed. He knows your wounds and the depths of those wounds because there is always an ax lodged in his brain. From the backdoor, he wails. The cry is one continuous expenditure of the energy of the soul. But you will not hear him, because the turntable is spinning, the music is loud, and the bullets drop to the floor like loose change.

What you see in the end is the coffin in the middle of the room. Concrete, it is difficult to move. The pieces of evidence of a life jut out: trophies broken and now ultimately meaningless, foils of antidepressant, a cellphone. A pair of glasses. The implements of murder, of art.

Art and death, is there much of a difference? This is the final resting place of all sorrow and all happiness. Even death is a visitor bearing flowers. This is the wish not to be seen, not to be touched. Lynyrd Paras has long left the building. And he doesn’t want you to cry.

—Carlomar Arcangel Daoana

Artworks from the Show

Talas Salamin

Talas Salamin, Lynyrd Paras, 2019, Mixed media, size variable

Asintado

Asintado, Lynyrd Paras, 2019, Mixed media, 22½×16¾ in

Influence Fucker

Influence Fucker, Lynyrd Paras, 2019, Mixed media, 23½×17½ in

Therapy Table

Therapy Table, Lynyrd Paras, 2019, Mixed media, 15¼×19 in

Poisoned Love

Poisoned Love, Lynyrd Paras, 2019, Mixed media, 18½×17 in

Ulul

Ulul, Lynyrd Paras, 2019, Mixed media, 16×16 in

Cry

Cry, Lynyrd Paras, 2019, Mixed media, 13½×10¼ in

Tangina Kayong Lahat

Tangina Kayong Lahat, Lynyrd Paras, 2019, Mixed media, 11¾×8¾ in

I Will Not Wait For You Anymore

I Will Not Wait For You Anymore, Lynyrd Paras, 2019, Mixed media, 21½×18½ in

Itim

Itim, Lynyrd Paras, 2019, Mixed media, 9¾×19¾ in

Ekis Lahat

Ekis Lahat, Lynyrd Paras, 2019, Mixed media, 11½×8¾ in

Black Head Queen

Black Head Queen, Lynyrd Paras, 2019, Mixed media, 22×18 in

Used and Destroy

Used and Destroy, Lynyrd Paras, 2019, Mixed media, 16¾×16¾ in

Maling Anino

Maling Anino, Lynyrd Paras, 2019, Mixed media, 10¾×8¾ in

Sex Pistol

Sex Pistol, Lynyrd Paras, 2019, Mixed media, 9¾×7¾ in

Mga Ulul

Mga Ulul, Lynyrd Paras, 2019, Mixed media, 19¾×16¾ in

Beng

Beng, Lynyrd Paras, 2019, Mixed media, 14¾×9¾ in

Don't Kill Yourself

Don't Kill Yourself, Lynyrd Paras, 2019, Mixed media, 14¾×11¼ in

Ano Ipipinta Mo?

Ano Ipipinta Mo?, Lynyrd Paras, 2019, Mixed media, 14¾×9¾ in

Bakiy Goodnight Agad?

Bakiy Goodnight Agad?, Lynyrd Paras, 2019, Mixed media, 19½×8¼ in

Andyan Lang Yan

Andyan Lang Yan, Lynyrd Paras, 2019, Mixed media, 16×11 in

Dobroe Utro (Good Morning)

Dobroe Utro (Good Morning), Lynyrd Paras, 2019, Mixed media, 22×18 in

Mundo Lang Ang Natutulog

Mundo Lang Ang Natutulog, Lynyrd Paras, 2019, Mixed media, 35×29 in

Sa Gilid ng Mata

Sa Gilid ng Mata, Lynyrd Paras, 2019, Mixed media, 9¾×12¾ in