Mending Wall -Lubin Nepomuceno

Lubin Nepomuceno

Ongoing at Artinformal -The inner room 17 March – 16 April 2016

“Something there is that doesn’t love a wall” is the first line of Robert Frost‘s poem,  Mending Wall. The poem illustrates how a wall keeps relationships between the two neighbours in good condition. Painting can be like good neighbours. Good paintings make great neighbours. When a painting speaks it has stories to tell, but one thing is certain, a painting will always love a wall.

No works found.

“At the heart of it” group show

"At the heart of it" Joya Gallery
A group exhibit of work by three spirited mixed media
artists sure to impress! Come have a drink with us and check out JOYA’s second show, entitled, ‘AT THE HEART OF IT’.

All works selectively hand-picked and curated to show the life, times and power of the space between war and peace.

Brisa Amir
Michael Rahmandeclarin
Arnel Agwain

Opening on March 10 , 7 pm
JOYA gallery
2nd floor, Alpha Land Makati Place Mall
corner Ayala ave. extension and Malugay st.

Parking will be available,
Refreshments will be served in the gallery.
Dress code is casual. Feel free to rsvp at


Salvador Alonday IDYLS

Salvador Joel Alonday Artwork

IDYLS | Salvador Alonday

November 25 (Wednesday) 6pm at Artinformal at the Main gallery.
Also two exhibition opens, the show of
José Santos III @Big Room
And Raena Abella @Inner Room

Of Idyls and Regeneration

Dwelling on poetry, on how the small begets larger, perhaps endless, articulations, leads us to the idyl, particularly on how Salvador Joel Alonday’s “Idyls” recall the form in its original sense; that is, small selections of verse structured in the manner of larger poems. Rhythm, scale and elegance of composition flow in the signature of Alonday’s rendering of feminine and masculine energies, returning us to a primal retelling of foreboding and longing. But also, speaking in metaphors that dig into our childhood precepts about nurturing and control.

These are sculptures in stoneware, individuated as assemblies of particular meanings, but collectively threading an encompassing narrative. Alonday’s telling though, is not an ordinate process. There are no chapters, no titles to these stories; no center or chronology structured the production and installation of these pieces.

Hence, the “Idyls” are almost as organically brought together. The artist intimates the improvisational factor in its becoming, of how the figures are thought out, assembled and re-assembled in continuous conversation with the clay. Alonday’s motivation is to weave assignments of conscious ideas with the unstructured memory of a collective unconscious. Much like how the psychologist Bruno Bettelheim harnessed the telling of fairy tales to help children come to terms and reconcile their primal desires with the tethering of social mores, unconscious content merges with conscious fantasies in the realms storytelling and myth-making as valuable tools in the formation of self-worth and selfhood. Likewise, primitive expressions such as the Maitum jars from Mindanao influence Alonday’s approach. These too are anthropomorphic vessels that agree, in Alonday’s words, “In the end, we are all untold stories.”

As the idyls must, a becoming is in order. The viewer is left to judge what could possibly come forth. Poetry’s license is art’s equal complicity with truths and lies. The repugnant and the tragic assert their own beauty. Bliss finds fruition after shattered innocence. We are finite creatures intent on regeneration.

words by Karen Ocampo Flores
Photo by Ling Quisumbing Ramilo