109859241_288513199044137_6292852320057813014_n

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Post date July 20, 2020
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Kayumanggi 2017

Brown is the leaves and grass crisp and dried when the hottest of summer decides to linger. Brown is wood and loam, twig and dirt that yield crops we eat daily on our tables. Brown is our hands shielding the sting of daylight’s heat, hardened by labor and the struggles of life. Brown is our skin sun-kissed and pigmented by rich shades of earth reminding us of our biology – islanders blessed by the bounty of the mountains and the seas. Brown is the color of forbearance and fortitude a Filipino possesses apart from his unsuspecting hospitality to outsiders. Kayumanggi, as the artist would like to invoke, upholds our rustic origins bosomed by a ubiquitous palette we are all quite familiar with and allusions to our Western fascination and influence

Book of Judith, 12:16-20 2017

Her face is painted with the manifestations of her cunning, spite, and conviction to deliver justice by means she had prudently intended. In contradiction, she bears delicate features that embody her chastity and femininity untainted before the eyes of the only God she worshipped and her fearful countrymen she vowed to save. And as her inhibitions are liberated, she successfully governs the masculine aggression she executes thereafter as told in the story. Here is Book of Judith, 12:16-20, the artist’s modern take of this daring widow moments before Holofernes’ drunken stupor that led to his decapitatio

The Grip (Inspired by Gustav Klimt’s The Kiss) 2018

How profound can a meaning transform when keyed into a hard surface of a black screen? A life that once was ordinary has now shifted gears with its dynamics seeping into every process and function of her daily activities. It hides behind the veils of awareness, freedom, and interconnectivity, but its grip tight, calculated, and overwhelming. Privacy is invaded as cognition is mandated, and yet she closes her eyes, embraces its power, and willingly envelopes what remains of her humanity in its control, in its wonders. Absent codes, chips, and wires, can the artist translate his intent through nails and threads on canvas?