Tuesday, June 24, 2008 New figuration in Philippine art
FIGURATIVE paintings have changed so much in recent years. While most contemporary figural painters still conform to the anatomically correct style, others have started, so to say, to disfigure the figure and out right disregard anatomy.
There is a new movement in configuration. The artists involved no longer follow tradition because they believe there’s no point anymore in preserving and protecting it in these times. Times are changing, indeed.
What keeps the new painting style apart from the old way is the angst it harbors. It carries meaningful messages that are often critiques on present human conditions. The paintings are now concept-driven, more importantly; and they are not executed primarily with the aid photos as references (i.e. using a photo as basis for the painting).
In some cases where a photo is needed, the reference is altered, recomposed, and figures and positions are restructured.
The works of Antipas Delotavo are figural paintings that examine issues, like over population, unemployment and idleness.
The atmosphere is bleak and the subjects seem hopeless based on their blank stares. Are we seeing another rise in social realism?
In the works of Noel Soler Cuizon and Alfredo Esquillo Jr., the figures are truer to form. However, even in realism they have proven and shown that it need not be literally portrayed.
But when it comes to the style espoused by Daniel Coquilla and Arnel Brillantes, the actual form is abandoned. Artists have a penchant for altering, disrupting and destroying.
These are the total opposites of beautify, prettify, and improve and enhance. That’s probably because art serves two purposes: it either enhances or alters space and meaning.
