The surge in the use of digital media and technologies in the Information Age has ushered in the use of various printing techniques and methods in painting.
This phenomenon has challenged the vaunted notion of medium-specificity in painting or “oil on canvas” painting and has re-oriented the term “original” because a painting or a work of art no longer consists of unique elements but also includes copied and printed matter. The friction between the reproducible and unique image has enriched the language of painting since the 1960’s. What was credited for the presumed “death” of painting – photography and its
various applications – has been coopted by painting to reference the mediated life-world we live in.
Topsy Turvy gathers together the works of 21 artists from different generations and countries to confront this topic through their individual expressions.
Featured in this comprehensive exhibition of contemporary art are the recent works of Maria Cruz, Lizza May David, Romeo Lee, The Weather Bureau, Timo Roter, Jayson Oliveria, Valeria Cavestany, Sam Kiyoumarsi, Ferdz Valencia, Gerardo Tan, Robert Langenegger, Carlo Ricafort, Juan Carlos Quintana, David Griggs, Luis Santos, Tanya Villanueva, Jeona Zoleta, Pow Martinez, Gaston Damag (in collaboration with Mark Biwit), Manuel Ocampo and Argie Bandoy.
Artworks from the Show
N-Graff & Road Kill, Argie Bandoy, 2016, Oil and photograph collage on canvas, 48×36 in each
The Mustached Girl, Valeria Cavestany, 2016, Mixed media , serigraph print collage, 48×36 in each
Inner Thin Line 1 & 2, Maria Cruz, 2016, Sign pen on tarpaulin, 52×37 in each
Untitled 1, 2, 3, Gaston Damag, 2016, Digital print on paper, 48×36 in each
Double Check 1 & 2 (edition 1 of 4), Lizza May David, 2016, Digital print on paper, 48×36 in each
Manila Eye 1 & 2, David Griggs, 2016, Mixed media on canvas, 36×24 in each
Pharmakon Scapegoat/Arbot Intrat, Sam Kiyoumarsi, 2016, Digital print on paper, 40×30 in each
Pass/Circa 1669, Robert Langenegger, 2016, Oil on canvas, 39½×32 in
FinaLee 41, Romeo Lee, 2016, Oil on canvas, 48×36 in
Test Print for H.A.R. 1, 2, 3, Pow Martinez, 2016, Spray paint on canvas, 48×36 in each
Untitled 1, 2, 3, Manuel Ocampo, 2016, Digital print on tarpaulin, 48×36 in each
Ass Whisperer/What did one butt cheek say to the other/ The best memories are made at the farm, Jayson Oliveria, 2016, Mixed media on canvas, 48×36 in each
Till Things Freezes Over/Legacy of Empeepee/Entitler Looks for his Entitlement, Juan Carlos Quintana, 2016, Mixed media on canvas, 48×36 in each
Goldilock Methodology Redux 1 & 2, Carlo Ricafort, 2016, Mixed media on canvas, 48×36 in each
Lady's Choice-Real Mayonnaise/Tender Juicy-Jumbo, Timo Roter, 2016, Print and acrylic on canvas, 48×36 in each
Untitled/ Allegory, Luis Antonio Santos, 2016, Mixed media on wood, UV print on acrylic sheet, 48×36 in
Double Corner/ Text(ure), Gerardo Tan, 2016, Pulp and collage on canvas, 48×36 in each
The era of beauty has arrived, I am doomed (skull & cross) & (fetus), Ferdz Valencia, 2016, Acrylic and silkscreen print on canvas, 48×36 in each
Mama Gardening/Luna Snacking, Tanya Villanueva, 2016, Mama grime on canvas, 48×36 in each
Clueless part 2 & 3, Jeona Zoleta, 2016, Emulsion, spraypaint and acrylic on canvas, 48×36 in each