All the recalls and recoils on art in general, much with the retrograde fad, such as recycling, rewinds, and all the re’s from art history to pop culture modes of media – say, bronze sculptures by Duchamp sit (not-so-comfortably) side by side with a gangster rapper flashing his gold teeth, or in another collage, Rodin’s thinking man sits contemplating amidst a background of Nike air sneakers, a catalog page with various treasures interact with Arnold Schwarzenegger’s terminator character and the tin man from the Wizard of Oz, might be all too familiar, yet not, as this year’s opener veers the way to begin with redirection in painting.
As opposed to resolutions, religious or moralist leanings, and even guilt, Kreskin Sugay delves into (c)omitting sins in painting, a detour to the usual codes of meaning, yet nothing to do with creating or remaking another set of definitions, but eyes onto the act of painting itself wherein certain choices, decisions, or stance of the artist adopted from the moment, mediates into the creation of the works throughout the process.
Sugay focuses on the various options and decisions, yet yielding from random selection, in which the artist have had managed the images to lodge their way into his thought process. The production requires minimal control, this may be leaving mistakes, or turning the canvas upside-down being part of its laxity. As it is from the artist himself, he is, at the moment, making abstractions, very much interested in the makings – the mess that comes with failure, detours, losing control, of a painting.
The act of (c)omitting sin (in the artist’s painting process) finishes into permuting images, piling up painting clich?s, introducing element in the painting sending it to another direction, clashing the images and redirecting them to comic results. For Kreskin Sugay, the works seem to target the tradition of collage itself, more so with the investment of meaning onto seemingly random images.
The success of omitting sin, parodies all the clich?s of the artist’s work about painting, or to that effect, leaving him as well as his audience to – engage, question, celebrate, parody (it’s) traditions.
Sins of Omission will have its opening cocktails on Wednesday, January 7 at 6PM. The exhibit will be on view until Febrauary 2.
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Mag:net Gallery Ayala, is at the ground floor of The Columns Tower 1, at the corner of Ayala Avenue and Buendia. For details or inquiries, contact the gallery at 929-31-91 or email info@magnetgalleries.com or visit www.magnetgalleries.com
Kreskin Sugay
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