Hello everyone! Another blog entry for the week and already, it seems like I’m on a roll 8D
This Youngstar feature has been about 2 months old already. I wanted to get a scanned photo of this feature before I posted it up on the blog, but back when I had the intention of telling you guys about the feature, I didn’t have the article in possession. So foolishly I thought I’d be able to get it back soon, and scan it within the week for public posting.
In true Reese fashion, I didn’t get to scan it at all anymore. (Credits to Steph Manuel, for I nicked your article photos without asking huhu) Thus, I am posting this today, about two months after the article has been released.
MANILA, THIS IS ART - this particular feature was ginormously special to me, simply because I think it’s the first time a public circulation has featured me solely as an artist, and not a blogger or a musician or anything else. Actually in this article, I was amongst illustrators… I’m not really the James Jean of illustrating or anything like that so I was just lucky to be mixed in with the rest of the talented bunch. I felt so ridiculously giddy seeing my art on print, and in such a relatively large scale at that. Admittedly, when I was doing this photo edit, it was during the same time I was killing myself over schoolwork in SoFA. Things got particularly hectic around that time, so I didn’t really have enough time to conceptualize and do what I really wanted to execute on the photo. So I did a quick edit using some of my old crude art samples and “collaged” a few bits and pieces and slapped rainbow prisms on my cheeks and sent it over! Though a rushed job, I’m still happy about it. There were messy bits and haunting references and the colors were cray, and that’s all that really matters with everything that I do :)
Special thanks to Ralph Mendoza, Raymond Ang, Gabby Cantero, and Carina Santos (and for those I failed to mention) for making this feature possible! I’m beyond grateful to have my face distributed all over the different households of the Philippines. Haha!
Check out the digital version of the PhilStar issue here.
THE ART OF SEEING – Rogue November 2012 Issue
Never in a million years have I imagined that I (or okay, my name haha!) would end up in the pages of Rogue. But a few months ago, whilst sitting on the floor of Fully Booked, perusing a book about pandas, I’ve been contacted for an interview for a Rogue article about art and perception. The premise and concept immediately interested me and I gamely (of course) agreed to participate! The article got in touch with 5 different individuals: a registered nurse, an investment banker, a high school student, a curator, and a ~young artist~ (HEY THAT’S ME! And they actually called me an artist! And young! Double whammy!) – to comment on a collective work of John Jose Santos III called Clockwise (as you can see above).
What I think originally would’ve been a live discussion among the 5 became an email correspondence instead. Rogue sent us individual photos of the pieces in Clockwise, and asked us a number of questions about it. Here is a really condensed version of stuff I said about the work! I’d love to hear what you think about Clockwise too, as this article is supposed to be a testament to the fact that each of us view, interpret, and reinterpret art differently. There really is no right or wrong answer, and that’s what’s fascinating about being either (or both) a viewer or / and a presenter of creative work.
Please click through the magazine article for a more enlarged version of the photo, but I think you can manage without having to go through the motions of Flickr just to find the zoom in magnifying glass.
Also, here are a few other things I wrote about the artwork, most of it unpublished but I just thought I should share! Sayang ang pagtype ko! Haha!
1. Describe to me what you’re seeing.
I see depictions of commonplace, everyday objects. Lamps, folded shirts, parcels, and things you can see around the house; tucked on shelves, hiding inside closets and dark cupboards. 3D objects mixed with 2D paintings in trompe l’oeil are all encased in long boxes, crammed in such uncomfortably narrow spaces. Elements surrounding the outer frames of the box change in each piece, suggesting a progression or order. Ladders, furniture legs, and human feet jot out of these frames unapologetically – quite arrestingly so.
2. What do you think this series is about?
At first glance, I thought Clockwise was a portrayal of everyday, mundane life. Seeing used sheets and crumpled pillows, polo shirts and squeezed paint tubes makes the series appear to be much more personal. It’s almost a strange feeling – like being allowed to peer into the life of someone you don’t know. Like house voyeurism, if I may. Such commonplace objects that have been used and lived with, are suddenly turned into artifacts by the act of contextualizing them through uniform boxes. The series feels like an immaculate effort of preservation of a life that has been lived, or is being lived. Like, This is how this man lived his life, take a look at his wrinkled sheets and observe the way he stacks his teacups. Almost like an exhibit of evidences from a crime scene.
Trying to box life itself, that which seems so huge and complex, into narrow, constricting spaces is I’m guessing the obvious irony. Each morning, you wake up and you go out into the world – that is a lived day different from yesterday. It’s also different from the life lived by your brother, or neighbor, or distant uncle. Despite this, the Clockwise series shows aspects of life that is universal and recognizable to all – suggested by boxes, standing lamps, clothes, the idea of sleeping and waking.
3. Do you think the title, “Clockwise” is fitting? Does it make you think about the work differently?
The title suggests a definite order or direction. As clockwise literally refers to a defined path, that made me look into the series a bit differently. I noticed there were 12 boxes in the series too – perhaps an obvious reference to a clock. Given that, the title consciously conditioned my mind to make sense of these bunch of boxes and find the underlying order in them. However, I honestly didn’t fully understand how it all chronologically comes together.
The first box with the sheep and ladders reminds me of sleep. In between dreams, the state of being lucid. There is a sense of surrealism and a suggestion of an upward reach for something infinite. Things don’t have to make sense. Starting the series with this seems fitting, as the normal life cycle of man starts either when one attempts to sleep, or when one attempts to wake up.
The rest of the boxes, to me looks like a walkthrough of a normal day’s cycle. Getting up, fumbling with the light switch, selecting the attire of the day, keeping things in an organized clutter, the chagrin felt while being in transit.
Anyway, a shout out to the Rogue team for a WONDERFUL Art Issue this year!!!! And there was this big feature on my biggest local artist crush, Leeroy New so, you know. Happy kid.
Just for sufficient creeper evidence, I searched all my past entries that referred to Leeroy / his works in some way HAHA. Oh God.
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Okay thank you that is all.