Questions and riddles have been integral in my practice, directing the course of action I take in dealing with ideas. The step of creating parameters inform me of the restrictions enforced during the process of making, allowing me to focus on what is necessary – that is to understand the interplay between my materials and the space they will occupy. Rather than engulf Finale’s space with multiple massive works, I chose to fill up the room with these questions.
In “A Painting for a Grid”, I wanted to have a piece that focuses on the grid, the guiding lines that disappear after a painting is finished. In order to do that, I made a physical grid and covered it with canvas while letting the grids outline hold the canvas’ final pose providing me with a sculptural image to paint. In another piece, I wonder how I can make a painting behave like a sculpture? By removing the canvas and the stretcher from the equation, I somehow have been able to free the paint from its confines, liberating it from its flat surface.
The forms of the succeeding works were influenced by a remark made by a guard at the compound of the studio. On one occasion, he visited the studio and gazed at the large painting, intently observing it, he seemed confounded and causally asked, “is it a window?”. His remark set the tone for the succeeding works in the show, from the hanged canvas-curtain with a painting that mirrors the other end to the wall of bricks shaped like a door. The forms highlight the mundanity that surrounds us, the fixtures and ornaments in the background, the unmentioned tools, elements and processes behind the works I make. My works for the exhibition offer no solution but serve merely as continuation to my inquiries on defines a painting, a sculpture, an object and where the intersection lies and ends. (edited by Lec Cruz)