Approaching exhibitions by looking for trends is a bit like looking toward the realm of fine arts to tell us what to see in an era where every decade, style and movement is in the painting vernacular simultaneously. The manic production of art is perhaps forgivable but still an unreliable statement, as we could be ushering the breakdown in the hierarchical and more evidently, the economic distinctions between traditional painting and mass media images so prevalent in the dense contemporary art landscape. In Excessive Projections, the scale and the graphic nature of the imagery pulls you into the gallery space before you realize the materiality of the work, and it takes time for viewers to realize they are looking at some of the most ambitious pieces that were left unfinished by past residents of Light and Space Contemporary. So the work pushes us as viewers out of our comfort zone, leaving us to ponder how popular culture subtly altered the "fine" character of paintings and change how we experience them.
The exhibition has become a reflection of our superstitions as well as our realities. They are painted metaphors for the phenomenon of restlessness: terrorists attacks, teen-age suicides, selfies, and prepaid electricity. How do these realities: these indicators of the decline of values translate into art beyond superficial, beyond stylistics? The key is in locating messages in the artists' instinct to abuse his milieu. The most notable pieces in the exhibition speaks of the delirious essence of our times, they employ the visceral rather than the vicarious, wildly breaking out from art making's conceptual cocoon.
Jason Paul Tecson
January 24, 2014
Exhibit runs until February 28, 2014
Light & Space
West Fairview, Quezon City