The exhibit is about the whole aspect of expressionism.

Expressionism is emotions characterized by the artists using heavy brush strokes, and distorted figures.

“The artists have their own way of expressing themselves, so be it  very linear, very realistic or very rough, the whole thing is, how one expresses his point of view. “ cited Grandier.

Synthesis presented works of Nune Alvarado, Ricky Ambagan, Malyn Bonayog, Joseph De Juras, Grandier, Jose Ibay, Josue Mangrobang Jr., Lex Marcos, Dicky Joe Santos and Orley Ypon.

Synthesis is presented by Gallery Anna from August 25 to September 10, 2010 at the SM Art Center, 4th Floor, Megamall Bldg A, Mandaluyong City, Philippines.

About the Artists’ Works

“Pangabuhi” is a means of striving to live, according to Nune Alvarado. Despite the familiarity of this image in marketplaces and seaside towns, it still undeniably evokes a certain sense of haunting sharpness, with the solid, wood-like rendition of his subjects and its common, tensioned anatomy. The veins bulge prominently from the skin, suggesting a mark of hard labor and the hopeful struggle to survive. The people in the painting are characterized by sharp, stiff poses because this painful tableau is all about the struggle, and the societal anguish that we all get from it. From afar, the painting looks like a long line of people in a hodgepodge of strong colors and sorts, true and distinctive to Alvarado’s fearless, painterly style.

Joey Ibay pays tribute to Damien Hirst, applauding the English macabre artist for his unmatched confidence in simply doing what he wants, and not caring for what the general public, especially the conservatives would say after viewing his morbidly-themed works. With regards to its visual impact, Ibay’s painting is a resounding scream of terror and self-destruction, in where the man’s face is slowly melting or perhaps transforming into a skull. According to the artist though, he refuses to give explanation to his paintings because too much clarification and definition of symbolisms sometimes strip the artwork naked of its own mystery. He would not want to restrict the mind of his audiences, especially when it comes to presenting their observation and individual interpretations regarding his works. The thick chunks of paint add more impact to its horror, blanketing his portraiture with a strange character of agony, an unknown place that we all fear to tread.

Ricky Ambagan delves around inside a typical midnight train trip, reconstructing the normal into the bizarre with his artful distortion of space. Presenting a dreamlike condition of hallucination, as the central portion of his triptych creates a confusing image of what could have been an apparition of Jesus Christ with his signature hand sign. Ambagan explains that his painting could mean a myriad of things, all depending on his audience and how they have perceived his work. He plunges his viewers inside the train with the images that he has created and leaves them to decide on what they actually want to see, a pileup of warped illusions resulting from starvation, drugs, or even temporary insanity—all together enclosed in a collective journey heading towards the end of a tiring, laborious day.

Malyn Bonayog’s “Time Warp” meanwhile explores the concept of holograms by defying the chief and most basic law of mass: two things cannot occupy the same space at the same time. It also compares two time tenses, which is the past and the present, respectively. The primary image was based on an old photograph of Intramuros during its war-torn era. Figments of this ghost memory in history blends together with the painting’s second image, which is the same place, only a few decades after. It now shows how it has become a modern tourist spot, fleeting with commercial venues for weddings and other events. This simply shows that we have become traitors inside our own country, unconsciously betraying our own freedom by forgetting the historical struggles that were made to achieve our present state of liberty.

Grandier Bella’s “Withering” depicts the account of failing relationships and how it affects the modern society. While the man on the right stands unaffected, the woman is still trying to reach out, but to no avail. On each side are two panels each that show the struggles of each side. The whole work is unified by images of roses and chains. The tearing and crumpling of paper in the background suggests life experiences, both good and bad. Images of the man and woman are torn, referring to man’s vulnerability and impermanence in this world. This work relates to Grandier’s previous paintings with his signature style of using warm and cold lighting that illuminates his images. This is essential as it signifies man’s exposure to the opposing forces in life.

Lex Marcos’ work was inspired from the play ang Post Office ng Hari written by Palanca awardee Rody Vera based from the work of Rabindranath Tagore, one of India’s most respected Renaissance figures, a poignant adaptation that focuses on the inspiring story of an ailing child, Abel. Innocent, as he is unaware of what the loss of life means, Abel greets the world with loving and consuming passion through the lone window of his room and touches the lives of people passing outside his window.

Joseph de Juras’ paintings are deeply influenced by his system of philosophy and beliefs with regards to faith and reasoning. He explains that questioning marks the start of true knowledge, and that we are only made to believe what we see. Two of his works, “Tied faith” and “Nailed Belief” are marked with cryptic biblical inscriptions and the other two with a number of holes piercing the painting and revealing the wooden base beneath it. The hole, according to the artist is a sign or representation being destroyed, and like a bullet hole, it allows the audience to peek and see the inside of the artwork itself.

Orley Ypon’s "Get Up" is a challenge for the Filipino people to rise above diversity and start building a new society through a fresh start of leadership. Ypon strongly believes that this is the perfect time to rise from the consuming pool of discharged muck and grime where we have been bathing in for too long. The puddle of sludge stands as a metaphor to the engulfing filth of our country’s political history. Too much has taken form already, from false pledges to real innocent deaths. According to him, this painting is basically a call to rebuild our soiled code of discipline and integrity. By helping wipe the dirt from each other’s arms, we help rebuild our country, one smear at a time.

Dicky Joe Santos communicates his utmost concern for the environment with “Stink Bomb”, a painting that depicts a child creating a non-destructive reproduction of an atomic bomb. In place of a supposed devastating explosion is an erupted bloom of plants. The central outburst blossoms in full color, while its background remains as a grayish landscape, emphasizing a strong feeling of contrast in Dicky’s work. In this note, the artist presents a clever joke: If man’s insatiable appetite for destruction could blow up into such an extreme radius, then so why not his thirst for preserving life and saving the environment?

Josue Mangrobang Jr. depicts his notion of freedom in “It began when all ended” through the skillful reversal of positives and negatives. His layering or perhaps erasing adds a certain psychological feel that captures his audience’s attention in a semi-Lynchian way. According to Mangrobang, this suspended visual procedure of transformation in two ways: Those who are free have to innate tendency to box themselves, and those who are trapped inside the box has a clear possibility of breaking out and embracing the splendor of freedom and individual will. Both artworks can be viewed backwards or vice versa, depending on how the viewer would like to take it.