SILVERLENS is pleased to bring together Christina Quisumbing Ramilo and Pinky Ibarra Urmaza in a two-man exhibition Dead Horse Bay. Opening reception is on 26 October 2019, 6 – 9 PM.
SILVERLENS is pleased to announce THE GARDEN, Maya Muñoz’ third solo exhibition with the gallery. Opening reception is on 26 October 2019, 6 to 9 PM.
For this presentation, Villamael will premiere a new body of work that builds upon his ongoing dialogue with the contentious subject of Philippine History.
Ceramics and Collectivism at Silverlens: Tessy Pettyjohn, Jon Pettyjohn, Joey de Castro, Shozo Michikawa, and Alvin Tan Heck
SILVERLENS opens 2019 with Watchfire, a group exhibition that brings together five artists who have each made a critical contribution to the development of contemporary ceramics in Asia: Tessy Pettyjohn, Jon Pettyjohn, and Joey de Castro of the Philippines. Shozo Michikawa of Japan, and Alvin Tan Teck Heng of Singapore.
[Sketch] Corinne de San Jose Discusses Her Work for Abstract Photography Exhibition, “Equivalent/s,” at Silverlens
Blink and you’ll miss it–and we hope you don’t. “Equivalent/s,” exploring methods of abstraction in photography, and curated by Rachel Rillo, is on its last couple of days in Silverlens Galleries. For this week’s Sketch, we asked Corinne de San Jose, one of the exhibiting artists, about the photographs she created for the show.
SILVERLENS is pleased to announce a two-person exhibition by Gregory Halili and Nona Garcia, countercurrents. This show marks the first time these artists will show together. In this exhibition of new works, Garcia and Halili dialogue with each other and one another’s practices, both drawn to the sea.
Chati Coronel sits down for a chat with The Art Report to talk to us about her works for Art Fair Philippines and her concurrent exhibition at Silverlens Galleries, “The Infinite Yes,” which will run until 17 March.
SILVERLENS is pleased to announce Chati Coronel’s seventh solo exhibition with the gallery, The Infinite Yes. In this series of large new works, Coronel has assembled a suite of vibrantly coloured panels that reference creation myths from around the world and their recognizable leitmotifs: first woman and man; contact with the human and the divine; order out of chaos. Also alluded to are myths less familiar to us, stories of worlds summoned from dreams, song or the gut. All are executed through layered sweeps of underpaint with a silhouette as acting as a final coat – a window to an interior world; a portal to a dimension beyond. Simultaneously this multiple layering also evokes the possibility of existence of multiple universes, tracing a line over the limits of what we think we know.
In one of his series, Bernardo Pacquing references the Kalungaya tribe’s Cañao ritual where an animal is sacrificed during festivities. In its preparation, a pig’s chest is slit open, allowing a wooden stick to pound and thrust into the animal’s heart. He recounts this act as an overture to his process of assembling materials that are seemingly alien to each other and molding them into one coherent piece.
“Wonder” is a word that’s constantly under-valued and over-used and misrepresented, often whittled down to retrofit a standard lower than what it deserves. Wonder is also the title of Mark Andy Garcia’s new show which diverges from his past work in terms of form and process. The pieces are larger, the paint thicker, the colors fiercer.