Remnants
Studies
on the human psyche
By
Earl D.C. Bracamonte
Visual
artist Niccolo Jose successfully opened another one-man exhibit at the Altro
Mondo Arte Contemporenea on the 3rd Level of Greenbelt 5 Mall in
Ayala Center Makati. Simply dubbed “Remnants,” the three-week show is an
exhibition of new sculptural pieces that were all culled from recycled wood.
Each piece utilizes reclaimed Filipino wood such as sampalok (tamarind), narra, molave and mahogany; bringing forth a
fresh and new tale on sculpture and medium.
“This
is my second one-man show. The first one was mounted in Nov. 2012 entitled “Alice
in Wonderland.” It featured functional art like home fixtures and furnishings
and all other things one can find in Wonderland. I’ve also done paintings using
ceramic, acrylic and water color as well as portraiture in the past. I’ve done
sculpture and installation art too. These were some of the things I did while
attending college in Lewis & Clark in Portland, Oregon. I finished Bachelor
of Arts from that institution, majoring in Environmental Studies and Sculpture.
Some of my commissioned works can be found at the International School in the
Bonifacio Global City and those that have been shipped to Mexico. For this
exhibition, the human anatomy is my inspiration. Remnants is a poetic immortalization
of my moments, thoughts, and glimpses into other people’s lives,” shared the
artist, during an exclusive interview.
The
human forms in Jose’s works are not anatomical. Rather, human physiology is
artistically suggested, or gestured toward rather than illustrated. What we see
in Jose’s artworks is therefore the abstraction than the representation of
human anatomy – its parts, and innards, that, in the image, seem to have been
brought up out into the light for exposure and scrutiny. Some of these are the
most unusual nudes that one can come across; as the stripping of the human body
is more than just a matter of absent textile. In this collection, the inner is
literally the outside (exterior), and the blur of the distinction is brought to
solid, dramatic effect with the unlikely material of wood.
“Wood
symbolizes growth as it keeps moving; it is alive. It is a hard material but
once collaborated, it can make an unlimited number of things. Inspired by the
humdrum of everyday life and the individual’s state of mind, I wanted to create
an avenue for emotions on an entirely new aesthetic.
“Thus,
the challenge to paint figures in wood and to capture their emotions and
expressions melded beautifully with my chosen medium. The character and
personality of each subject was brought out through the grain, texture and
color of the wood – a medium whose own characteristics created an enduring
persona of its own,” he added.
Many
other artists have done the same artistic gesture of abstracting and suggesting
human form. Sir Francis Bacon (Study
after Velasquez’s Portrait of Pope
Innocent X), for example, is the
exemplary figure in the sub-category, having worked with x-rays in order to
line the body’s insides while keeping clear of illustration. But apart from the
interest in the human body as imagery, Jose’s art in no way resembles Bacon.
“For
this collection, I do my ‘paintings’ with wood. I use the grain of this element
as my brushstroke. The works on display were culled from pieces of lumber that
have been kept in my furniture shop in Batangas. My shop is simply called
Studio 10-10, as it was opened in 2010, on the day I was born, Oct 10th.
You can say creating art is my avocation while furniture making is my vocation.
I mastered carpentry at the tender age of 13,” continued Niccolo.
Instead
of the Baconian sense of motion, what we see and crucially experience as a
sensation in his art, is a monumental, stone-like stillness. Although supple in
terms of shape, Jose’s works are remarkable for an implacable stillness that
borders on a drama of immobility. And lest one think that these human forms are
tortured, it must be noted that such immobility evinces a kind of peaceful,
almost homely repose.
“Studying
the human anatomy, as well as life in general, and even Nature itself, were
some of the things studied by artists during the Renaissance. Of these great
masters, Michaelangelo’s art is my favorite. His works show his creative
genius. All you need is simply clean the marble figures as often to see their
splendor,” informed Niccolo.
Looking
back through time, starting in the 14th century, man began to
realize his importance and effect on the world. This rebirth (or ‘renaissance’)
that was reflected in art figures became more life-like; space became more real
and the Christian story began to be told from a humanistic point of view. As
the decades continued, artists were able to recreate the world on panels,
frescos, and altar pieces with increasing ease.
Beginning
with the stylized works of Giotto (The
Lamentation) and Massacio (The Holy
Trinity), the Renaissance culminated in the monumental creations of
Leonardo da Vinci (Mona Lisa),
Raphael (The School of Athens), and
Michaelangelo (The Doni Tondo).
“Altro
Mondo Gallery espouses different orientations. We are mostly known for offering
contemporary and modern art; not only from established artists but also for
quality art from new ones. This gallery opened three years ago. We’ve featured
European, South American as well as Asian artists’ exhibits. Last year, we’ve
showcased “High Notes,” an exhibition featuring a French (Ernest Pignon Ernest),
Serbian (Vladimir Velicovic), Argentine (Antonio Segui), and Dutch (Pat Andrea)
artists. Next year, we will be presenting artworks from China, Italy, and the Dominican
Republic. Mountings could either be of paintings, sculpture and/or installation
art. Aficionados can also visit our other showroom in Salcedo Village that’s
located at the Picasso Boutique Residences,” invited gallery owner Remegio
David, right after the ribbon-cutting rites with Jose and chanteuse Kuh
Ledesma.
The
Remnants exhibit runs until Sept. 14th and open for public viewing
during mall hours. For more information on the Remnants show, simply log-on to
the gallery’s Web site, www.altromondo.ph.
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