DETOUR

Walking around Blanc Gallery last week was like perusing an old Manila scene. "Detour" is a witness, in impasto, of an old familiar neighborhood thru the eyes and hearts of two versatile contemporary Filipino artists -- Elaine Roberto-Navas and Jonathan Ching. Their mesmerism with everyday surroundings prodded them to produce works that are familiar yet distinctly fresh.

As artists, Elaine and Jonathan see the allure in everyday scenes that we sometimes take for granted; they notice nuances that we oftentimes ignore. Their object-oriented paintings deliberately make me take a second-look. It stirs my imagination to envisage the diverse meanings of their subjects-- interpretations and contexts that become translated from the artist to the artworks to the viewers, and all the virtual dialogues that happen in between. 

I enjoyed the pure aesthetics of this show-- elegant colors and thick strokes portraying the charm and appeal of the everyday scenes. Their paintings render brave perceptions that uplifts.

 

 Elaine and Jonathan work while listening to music and audio books. Elaine mostly ends up thinking about her two children and praying for them. Jonathan uses the meditative exercise as therapy to process thoughts and feelings.  And look at what magically transpires....

 

DOG SEE RUSTY GATE WHOLE, a diptych by Elaine Navas

FATES, a quadriptych by Jonathan Ching

SECRET GARDEN, a quadriptych by Jonathan Ching

GEMINI, a diptych by Jonathan Ching

LOVE LETTERS, AFTER SAM KIYOUMARSI, by Elaine Navas

UP
CRYBABY, AFTER SAM KIYOUMARSI
GI HOMAGE TO CHABET, AFTER SAM KIYOUMARSI
by Elaine Navas

DIVA, AFTER SAM KIYOUMARSI by Elaine Navas

DYNAMIC DUO, AFTER ERN'S SUPERMAN, a diptych by Jonathan Ching

DIRTY LAUNDRY by Elaine Navas

Jonathan Ching and Elaine Roberto-Navas
behind is PALE FOUNTAINS 1-4 by Jonathan Ching

Detour is showing at Blanc Gallery until September 3. 

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Elsewhere

"Elsewhere", a solo show by artist Jonathan Ching opened at the Silverlens Galleries last October 29.  This successful show of photographs and paintings will end this Saturday, November 21.

Just like before, this artist presents us with an unconventional view of aesthetics. In his multi-panel paintings and his photographs, we glean insights into the memories and interpretations of the artist--the allure of the simple, the attraction of the broken-down, and the beauty in the unexpected.  

Big and proud, these signature detailed impastos must require so much both physically and mentally. All the work and time to translate thoughts and experiences and plans into creating these evocative artworks must be a repetitive cycle of exhaustion and gratification. From one small moment when Jonathan Ching sees something we are blind to, and feels something we are numb to, the knock on his door opens us to a whole new world, a step into beauty and hope. The whole process takes the artist "elsewhere", just as we eventually are too. 

As Paulo Coelho says, "Not everyone can see his dreams come true in the same way."

BOTTICELLI'S DAUGHTER

SOMEWHERE CALLED RED

INTO THE FOREST

WARM IS THE COLOR OF MY DREAM

THE MOUNTAINS AND THE SEA

ELSEWHERE

ELSEWHERE

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Flotsam and Jetsam by Jonathan Ching

Jonathan Ching's new show entitled "Flotsam and Jetsam" opened last April 29 at West Gallery.

When asked about his choice of name for the show, the artist pensively replies, "One man's trash is another man's treasure."  

The show definitely reflects these images-- flowers upon muck, buds alongside grime, blossoms amidst rust -- beauty adjacent to filth, beauty glorified by filth, beauty in filth. Such associations draw out questions on how we define what is aesthetically attractive and how we judge and value the everyday things. Can we creatively raise our standards and see the appeal of both beauty and filth in harmony with each other?

My Feet in Mud, 60 x 72 inches, oil on canvas

Iris, 60 x 72 inches, oil on canvas

Twilight Hours, 60 x 84 inches, oil on canvas

Daybreak, 60 x 84 inches, oil on canvas

California Dreamin' (Cherry Plums in My Backyard), 60 x 84 inches, oil on canvas

Contrast as a principle of art is widely practiced and praised.  Yet artists, like Jonathan, must not only have very vivid imaginations to put together these seemingly incompatible images.  A measure of tolerance, some broad-mindedness, and a certain acceptance must be inherent in one who can conceptualize creating beautiful art using such unexpected images side by side.  The odds and ends juxtaposed to the ethereal blooms simultaneously stir up admiration and disturb us into contemplation. Need we more evidence that this artist indeed "paints with his brains and not with his hands"?

The artist Jonathan Ching, with his brother, Mariano Ching.

I attach here the official write-up commissioned by West Gallery:

"In Flotsam and Jetsam, Jonathan Ching explores the possibilities presented by the triptych as a form: all the paintings in the exhibition are in three panels. A triptych, said Ching, allows an artist to break up a picture both physically and metaphorically. “I can choose to juxtapose images that may or may not be related, and present a new take on them as an image or idea.” 

Luscious flowers done in pink and blue impasto are bracketed by abstract forms borrowed from walls smeared with tar and graffiti. On panels of unequal width, slender branches garlanded by blossoms spring forth from rusted scissor gates left open. Elsewhere, two lotuses are left to float in a puddle of mud. In Ching’s still life compositions, Mother Nature’s refined bounty is almost always cut off by urban grit. The arrangement isn’t necessarily an indictment—Ching makes no overt claims. Rather, his re-contextualization encourages more thoughtful viewing: delicate petals become even more so when they are surrounded by dark ocean waves.

Beyond considering the triptych as form, Flotsam and Jetsam showcases Ching’s gestural technique: eddies of pigment swirl about his canvases with great energy, imbuing his subjects with a certain joie de vivre. Eyeing the surface of his textured work reveals gobbets of paint clinging to each other, creating miniature peaks and valleys that keep to the painterly rhythm of his hand. — ll"

Catch "Flotsam and Jetsam" at West Gallery until May 30.
West Gallery is at 48 West Avenue Quezon City.

View more of Jonathan's works here.

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Flower Arrangements at West Gallery

Last Saturday, I attended the opening of Elaine Roberto Navas' show called Flower Arrangements. Her works are beautiful and moving. 

At first glance, you will be attracted by the beautiful colors made with strong thick strokes, rendering the semi-wilted flowers still pretty. 

And then I saw this piece--

This work evoked such strong feelings in me, I couldn't look away. The placement of the vase, it's depth, the red roses-- all making me think of love and grief at the same time. Maybe it is my recent sudden loss of a loved one making me extra-sensitive to the elegance of these dying blooms. This piece is enthralling and it made me tear up. 

It was not until a few minutes later, after chatting with Elaine and telling her of my feelings, did I find out that these are all flowers from a crypt she visits. That's when it all fell into place for me and my tears fell.  Cut flowers have a special spiritual significance in death because of their own fleeting existence. The beauty and life you want to desperately hold on to, despite knowing how in time, the inevitable can't be avoided. With the flowers we offer for the dead, we give our respect and appreciation and we petition for peace and purity for our beloved's soul.  "Flower Arrangements" is Elaine's tribute and prayer. 

Elaine is such a prolific artist. Her show is not to be missed. It's on til April 25. West Gallery is at 48 West Avenue, Quezon City.  https://www.facebook.com/WestGallery

I post here the official show write-up by Ms. Lena Cobangbang. 

ELAINE NAVAS

Flower Arrangements

Excavations from the Shanidar Cave in Northern Iraq in the 1950s by the team of American archaeologist Dr. Ralph Solecki has revealed from the several burial sites found there that the arrangement and placement of flowers around the dead is humankind’s oldest tribute, the oldest form of memorialization, the oldest act of mourning, deeming as well the subject of human burial as the world’s oldest form of religious activity.                                                                                            

Further, soil samples from these dug graves, upon closer study by French paleobotanist Arlette Leroi-Gourhan, showed at least 8 species of wild flowers from found pollens and flower arrangements, leading her to conclude that someone from 62,000 years ago had roamed the mountainside in the mournful task of collecting flowers for the funeral tribute.                                      

Whether this was done as motivated by the protocols of a ritual or from the practical function of hiding the stench of decomposition of a dead body, these no doubt provided for a means to convey what was inexpressible for such loss, seeding man’s capacity for sentiment and symbolic language, or the first footfalls into sublimating the vicissitudes of mortality. As a flower is cut from its stem, its life is hastened, picked at the peak of its blooming, it foreshadows its inevitable demise, reverberating in this allegorical pageantry the transitory cycle of existence, none more eerily evinced in the juxtaposition of the abject body with the object of beauty, the putrid and the pulchritude.                     

In Elaine’s hands, these floral arrangements are painted so with robustness, each furrow, each spindly stem, each rumpled petal so fleshed out, bearing the weight of their plodding slide to withering expiration.  Painted in the stilted median of past their prime and their slow crawl to their shriveling shell, these articles of tribute, are equally memorialized, or are they rather painted to placate as the more lasting offering for the unknown departed for whom these flowers were originally meant for? Or is their transformation into painted pictures allegories themselves as to how we perceive and respond to nature and the conception of art itself? That to show the limits of things as idealized forms only then can we grasp at the abstractness of phenomena such as tragedy, beauty, awe, wonder, and all other unquantifiable portents of consciousness.                                                    

with Mariano Ching, Jonathan Ching, Yasmin Sison-Ching, and Ms. Elaine Navas

at Gallery 1 of West Gallery

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