How Hiding Insomniac Appraisals Give in to Hermetic Silence
About the Event
Artinformal is pleased to present a new exhibition opening at our Makati gallery on 2019 Jul 6, Sat, 6PM. It will run until 2019 Aug 3.
Gerardo Tan, Maria Cruz, Jayson Oliveria, and Carlo Ricafort band together to amuse and confuse as they occupy all spaces of Artinformal Makati in their exhibition how hiding insomniac appraisals give in to hermetic silence.
Gerardo Tan works across media from painting, collage and artist books to video and found objects in room-sized installations. He recreates images culled from the world of art and mass media using a variety of mediums in order to subvert hierarchies and give way to new itinerant meanings. Tan was conferred the 13 Artists Award by the Cultural Center of the Philippines in 1988. His other distinctions include the Fulbright-Hays Grant at SUNY Buffalo (1990-92), the Barbara Schuller’s Art Associates Award in Buffalo, NY (1992) and the Juror’s Choice at the Art Association of the Philippines Annual Competition in 1997.
Maria studied Fine Arts in Manila, Sydney, and Dusseldorf, and has lectured at the Canberra institute of the Arts, and the University of Western Sydney. She is a recipient of carious grants and international residencies including from the Australia Arts Council and has won many awards. Maria continues to exhibit internationally and her works are in collections in Australia, the Philippines, and Europe. Maria’s paintings assimilate influences from the formal quality of text, geometry, and the colors of popular culture and everyday life.
Jayson Oliveria studied Fine Arts at University of the Philippines, and is a recipient of the CCP Thirteen Artists Award in 2006. He was also one of the first recipients of the Ateneo Art Awards, being nominated twice in 2004 and 2005. Oliveria has shown in numerous solo and group exhibitions in the Philippines and South East Asia, in the U.S.and Europe. Oliveria’s works poke fun at conventional taste and the perceived candor of images, combining the caricature of familiarity with unsuspecting truisms.
Carlo Ricafort works between painting, printmaking and installation. His images emerge from the abstraction of memory that give birth to anthropomorphic shapes and figurative elements. This makes Ricafort’s painterly practice into a kind of ritual, linking millennia of practice to the current fervor of the times. His manner of painting echoes western style expressionism dabbled with notions of primitivism, not so much as giving license to aesthetic naiveté, but is a self-conscious take on what primitivism could appear to be today. The works display a post-modernist cynicism over all things pure, yet acknowledging the inescapable connection with its own self.
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