ABSTRACT artist Lindsey Lee (a.k.a. Lindslee) is back with an “interactive” side to his art with his sixth one-man show, face:phase.
The artist has been known for using non-traditional materials for painting. In this exhibit, his works still show the same unconventional media such as construction supplies with the usual splashes of red, white, brown, and black. Lining the walls of Pasilyo Guillermo Tolentino at the Cultural Center of the Philippines are big back-and-front square pieces attached to hinges.
The works show circles inside squares on one side and Xs with round middles on the other. They may remind one of Leonardo Da Vinci’s “Vitruvian Man”—his limbs spread-eagled inside a circular border. In Lee’s pieces, however, the recognizable human form is absent and replaced by random shapes in a myriad of colors.
A plastic roof and a plywood rectangle with dabs of paint all over make up one of Lee’s works, titled “Unexpected Repugnant”. But with its bright green background, it is hardly repugnant. Rather, it is quite pleasing to the eye with its clever layout. Lee’s obvious fondness for roofing materials continue with “Deep Seated”, which surprisingly looked charming with its pink back side, despite having a galvanized roofing sheet in front.
“Political Opposition,” on the other hand, is a Marxist emblem. A single red circle is on the middle of the canvas, with white circles surrounding it representing the socio-political system of the Philippines where politicians gang up on the central political power.
Lindslee says he wishes “to see and explore what is beyond my surface, my reality.” His art results from “a long process of experimentation and a build-up of experiences, and moves from phase to phase.”
A Painting graduate of the College of Fine Arts and Design (CFAD), Lindslee is also a member of the Young Thomasian Artist Circle (YTAC). He has won several art competitions in his Bacolod hometown, became a finalist in the 1998 Shell Art tilt, and has also exhibited his works overseas.
Round and Round
Meanwhile, ¤, the title of the third solo exhibit by Thomasian artist Wesley Valenzuela, can be the tight circle of the rich, the eye of God, the intrusive eye of man, or a summary of the things that the artist experienced.
Valenzuela says words were common enough to name an exhibit, so he used a symbol, instead, to represent of his theme about circles within circles.
Using various media and processes ranging from oil paints to silk screen and printouts, Valenzuela came up with interesting dark backgrounds, sometimes dappled with white and silver, riddled with embossed circles and gold letters and symbols. While some texts can pass for gibberish, they may convey the artist’s insights.
Visitors are greeted with “Life Circle”, a multi-paneled piece with the ubiquitous circles on each of the bigger parts. As the title connotes, it may be seen as the absurd, amusing, or strange things the artist finds in life.
The question “has the world changed or have I changed?” is very noticeable in the piece “Inner Circle”, which suggests confusion, an emotion not evident in the artist’s other works.
However, the absence of the casts and sculptures that Valenzuela is known for is obvious. “Pahinga na muna sila,” he told the Varsitarian. He says he was intent on working on the ¤ theme, and those additional elements may overpower and take the attention away from the real subject of his works.
Despite being a commercial exhibit, Valenzuela is not after monetary fulfillment because for him, the exhibit itself is satisfying enough. The works of the CFAD instructor were displayed at the Big and Small Co. Art Gallery in SM Megamall from June 27 to July 9. Florian C. Garcia
