it's really nice that there are artists here like kelli maeshiro who are willing to talk about, show appreciation, read exhibition like this
and for arvin flores to start, moderate, converse about the works on show
it makes the conversation deeper and the works more meaningful
i can relate to artists being shy, reluctant, evasive in talking about their works
i was like that before coz i dont have much to say
i am like that sometimes now coz im not sure people really want to hear my story, just wants to be entertained, etc. basically anxious about what people think
so yeah notes
cocoy lumbao spoke how this works seems to go back
primitivism
i a way i agree
and also this does seem to be a thing
like one of the biggest channel in youtube i sometimes happen upon is the dude who makes houses, bridges and other structures with clay and branches
and when we went to see the roponggi crossing show in mori musuem recently there was a work that was like that
so i think people now are curious as to how people lived in the past
coz amybe there's this pop narrative bout the past being better
but i dont really believe much so
and the argument that convinced me is from the book superfreakonomics that argued that before new york was full of horse shit
so yeah car smoke pollution is not so good but i reckon its much better that horse shit pollution
another interesting thing said during the talk was that the color palette is much more different from what kelli and clarence would see in hawaii
they said the colors in hawaii were much more sunshineyeh
and the colors in that show is much more gray
so maybe artists cant help it but be influence by what's around them
and also one thought in mind is what zhuang wubin said during the photoepsna portfoilo review
that there are some art projects that you just want to do and you dont really know why you just know that you want to do it
and you dont really know how to explain it
so in those kinds of works
it helps a lot for other people to try and make their own read of the works
and sometimes the creator hears something that resonates with what he's feeling and using those words would help others to understanding the work too
and sometimes others provide a different and new view of the works that it adds another layer of possible reading to the work
then there are those works that are just deliberate
that you know what you are trying to say and you know how you want to say it
another point
which was raised by clarence
was regionality
which was then expanded by other
how kelli reacted when she saw poklong's work made out of basahan/trapo
and that for her its looks so precious coz its handmade
for me as a filipino im so damn used to basahan that i dont see it as something precious
then she also recounted the story of how carlo reyes was using basahan to clean something up
and he joke that it was poklong's work
and kelli believed it and thought wow carlo is so rich he could afford to use pklong's work to wipe stuff
so yeah clarence said that regionalism is in decline coz of the possibilities of the internet
of seeing international work
and seeing the same international work at that
80/20 rule shizz
so yeah maybe we should think what are the things one could see here and not see somewhere else
#onlyinthephilippines
like the jeepneys, tricycles, cock fighting
and building on that
for me those urban stuff are more natural for me
sure tribal, indigenous things here in the philippines is very regiounal but then i feel like im cheating when i use them sometimes coz i dont really know those things personally
then there was also some thoughts about abstraction
that most of the abstraction that comes here into the philippines
is from abroad
like those who introduced abstraction here in the philippines are the people who managed to study and learn it abroad
yeah theres this stuff also that filipinos are more sculptors and weavers its most foreign influence to have painting. coz those stuff we can see in our indigenous works
and also how abstraction lends itself to attempts to visualize the future
yeah how can we ground abstraction here
and oh kelli had a point that started the whole bashan thing
that for here that object was weird and abstract for her maybe i try to remember my best
so yeah maybe thats the abstraction that can be grounded here
and for arvin flores to start, moderate, converse about the works on show
it makes the conversation deeper and the works more meaningful
i can relate to artists being shy, reluctant, evasive in talking about their works
i was like that before coz i dont have much to say
i am like that sometimes now coz im not sure people really want to hear my story, just wants to be entertained, etc. basically anxious about what people think
so yeah notes
cocoy lumbao spoke how this works seems to go back
primitivism
i a way i agree
and also this does seem to be a thing
like one of the biggest channel in youtube i sometimes happen upon is the dude who makes houses, bridges and other structures with clay and branches
and when we went to see the roponggi crossing show in mori musuem recently there was a work that was like that
so i think people now are curious as to how people lived in the past
coz amybe there's this pop narrative bout the past being better
but i dont really believe much so
and the argument that convinced me is from the book superfreakonomics that argued that before new york was full of horse shit
so yeah car smoke pollution is not so good but i reckon its much better that horse shit pollution
another interesting thing said during the talk was that the color palette is much more different from what kelli and clarence would see in hawaii
they said the colors in hawaii were much more sunshineyeh
and the colors in that show is much more gray
so maybe artists cant help it but be influence by what's around them
and also one thought in mind is what zhuang wubin said during the photoepsna portfoilo review
that there are some art projects that you just want to do and you dont really know why you just know that you want to do it
and you dont really know how to explain it
so in those kinds of works
it helps a lot for other people to try and make their own read of the works
and sometimes the creator hears something that resonates with what he's feeling and using those words would help others to understanding the work too
and sometimes others provide a different and new view of the works that it adds another layer of possible reading to the work
then there are those works that are just deliberate
that you know what you are trying to say and you know how you want to say it
another point
which was raised by clarence
was regionality
which was then expanded by other
how kelli reacted when she saw poklong's work made out of basahan/trapo
and that for her its looks so precious coz its handmade
for me as a filipino im so damn used to basahan that i dont see it as something precious
then she also recounted the story of how carlo reyes was using basahan to clean something up
and he joke that it was poklong's work
and kelli believed it and thought wow carlo is so rich he could afford to use pklong's work to wipe stuff
so yeah clarence said that regionalism is in decline coz of the possibilities of the internet
of seeing international work
and seeing the same international work at that
80/20 rule shizz
so yeah maybe we should think what are the things one could see here and not see somewhere else
#onlyinthephilippines
like the jeepneys, tricycles, cock fighting
and building on that
for me those urban stuff are more natural for me
sure tribal, indigenous things here in the philippines is very regiounal but then i feel like im cheating when i use them sometimes coz i dont really know those things personally
then there was also some thoughts about abstraction
that most of the abstraction that comes here into the philippines
is from abroad
like those who introduced abstraction here in the philippines are the people who managed to study and learn it abroad
yeah theres this stuff also that filipinos are more sculptors and weavers its most foreign influence to have painting. coz those stuff we can see in our indigenous works
and also how abstraction lends itself to attempts to visualize the future
yeah how can we ground abstraction here
and oh kelli had a point that started the whole bashan thing
that for here that object was weird and abstract for her maybe i try to remember my best
so yeah maybe thats the abstraction that can be grounded here
