Opens on September 11, 2013 Wednesday at 6PM
Let’s say an artist, knowing that a painting cannot be non-abstract, sticks to the reference to reality, that is, to the painting as an analogue (for something that surpasses or suffuses it). By so doing, he paints in a twilight zone, the abode of the demonic, where,according to Klossowski, the painter tries to imitate “the demonic analogue of his own emotions” like an invisible model.1 This implies that a demonic power is his accomplice, intervening at the sore point of painting, where subjectivity is blatantly unable to “create a soul” that could animate the picture. Of course, in order to give the painting a soul, the painter has to deploy the demonic as a strategy, allowing something that happens to him to happen to him. Thus, the demonic becomes fruitful only to the extent that the painter reproduces it, i.e., exorcises the obsessions that it involves. The painting as the result of this calculatedly schizoid activity, that which used to be known as “reference to reality” or “resemblance” could come back through the demonic as the “reality-weight form”.
Today, of course, we are at a different point of perception. Our perception is structured by simulacra of simulacra, imitations of imitations of stereotypes surviving in sensation, and other real unrealities of the imagination. When we open our eyes in the morning, we already find ourselves in a museum of senile modes of observing, in which typologies of understanding have replaced seeing. Thus, anyone who wishes to create a soul today must begin by grappling with the soul of soul-lessness, exposing himself to the risks of deterritorializing the process of thinking and seeing before him, following the demon of the fatally ingested revolt of deviation.
In this series of works I am catching up with modernism’s wrong tracks, which as we know, abruptly perished in tracklessness - in the post-nondeconstructive. I have thus tried to create an existential ornamentality that drifts into harmonious disharmonies of the reality-weight in form; and, paradoxical as it may sound: because this existential ornamentality is pregnant with abstract figurations of possible paintings, it once again makes reality possible in paintings. And one of existential ornamentality’s preconditions is to be found in the demonic complicity that the painter must tap within himself if he wishes to “create a soul,” knowing that it is a soul only if it contains the knowledge of soul-lessness.
Finale Art Gallery
La Fuerza Compound
2241 Pasong Tamo, Makati
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