AngelifieD //P

Coz' We Dont Fucking Care

This installation depict the anarchy in nature, which is a part of humankind. The precise detail reflects another side of human nature: the need to lose control and create dark structures in our life. These elements represent the wholeness of our opposites. No walls. No restrictions. No politics or religion. No rules. In fact you’re liberating from it all.

My artwork shows some rebellious characters such as audacious, mean hippies, each composed of irrational behaviors. They found this new glory within themselves and couldn’t care about the greater forces beyond. All matter is the happiness they extracted from self-emancipation. 

When we give up trying to hold onto the righteous ideas or another and embrace the contradiction, the experience can be liberating, opening new possibilities of consciousness. But still it’s simple as you know who you are inside and you know how this consciousness takes place.

Medium: carboard (balikbayan boxes), acrylic, t-shirts
Size: varied

CONFESSIONS OF A SINNER

 September 17 , 2011

Manila Contemporary

Featuring: Catalina Africa, Poklong Anading, Felix Bacolor, Andres Barrioquinto, Ronald Caringal, Kawayan de Guia, Dexter Fernandez, Denis Lagdameo, Nikki Luna, Maria Jeona, Pow Martinez and Christina Quisumbing Ramilo

The last in a trilogy of group exhibitions that looks at the communication of fundamental human experiences (love, hate and faith) Confessions of a Sinner highlights and questions the need for redemption and faith in contemporary society. Purposefully taking as a starting point the religious landscape of Catholic Philippines the show aims to present the confessional side of contemporary art.

Artists have been invited to share once more, intimate personal stories as well as socio-cultural observations on sin and the need for absolution. A problematic term in regards to who sets the parameters of wrong behavior, sin is a religious term that goes against established notions of morality and the authority of God. It can occur through physical actions as well as inner thoughts that are immoral, selfish, shameful, harmful or alienating.Provoking the relationship between Art and Religion, Confessions of a Sinner creates a point of departure to consider human weakness. However, rather than providing a framework for morality like traditional religious art it aims to deconstruct the human desire for redemption through faith in God or personal revelation. In addition, it highlights the structure of the art gallery as a pseudo spiritual/religious home for objects that take on reverential status when placed within the white cube or museum space. Creating a concentrated space the exhibition problematizes notions of sin, forgiveness and faith for new visual and social critique.

X O X O X O

               

  In XOXOXO, Dex Fernandez plays around with images culled from adult magazines, putting a new spin on them by adding layers of mixed media on the repainted images. Thus, he only hints at their original context, turning them into nearly abstract configurations, especially when viewed from a distance.

            Fernandez is not afraid to say, “Art is porn, and porn is art,” not drawing a line between what is acceptable and what is taboo. To him, both aim to entertain and satisfy the senses. And he hopes viewers will be as open-minded as he is when they see his latest works. More than just polishing his skills, he also sees himself as a “warrior,” fighting to open viewers’ minds to other types of art, particularly the so-called low brow art, in which the standards of fine art does not necessarily apply.

Initially, he was thinking of calling this new series “Porn-Again,” as a reference to a newfound belief system or religion to which one privately subscribes. He decided on XOXOXO, from “XOXO,” or loosely meaning, “kiss hug kiss hug,” a term of affection usually written at the end of a written letter, E-mail or SMS message. By adding “XO,” Fernandez distorts the meaning by relating it to “XXX,” connoting censorship or mark-up. Choosing not to put specific titles on the works, Fernandez, who also dabbled in street art, wants to enjoy the moment of creating, and not thinking about rigid rules or criteria on aesthetics.

While still using symbols and other emblems that mark each character in his works, Fernandez has since widened his portfolio after working on assemblage portraits and objects of excessive worship or adulation in his earlier exhibits. With every new exhibit, he wants to surprise both himself and the audience.

The fine arts graduate from the Technological University of the Philippines and recipient of an arts grant in Vermont this October says this latest series is somehow a product of one of the works featured in his first one-man exhibit, -+*. He just raises it to another level, experimenting with the images repeatedly in an effort to reveal new nuances upon adding more visual elements. By concealing the suggestive portions of the image, Fernandez says he is not purposely sanitizing it. He does it to form a new story or narrative, which he hopes are intellectually stimulating enough to stir the imagination of the viewers. 

Texts by Marie Anne

September 13 to October 8, 2011

West Gallery

48 West Avenue, Quezon City, Philippines