A THOMASIAN artist depicted life in urban backstreets in a solo watercolor exhibit, “Eskinita,” which opened on Oct. 20 at the Artasia Gallery in SM Megamall in Mandaluyong City.
Painting alumnus Wilfredo “Yeye” Calderon featured 23 paintings of alleys in the watercolor exhibit.
Calderon said he chose to paint alleys because they were often unnoticed and were rarely subjects of art.
“Alleys are simple things that people don’t often pay attention to, but if you give life to [them], [you’ll realize that] they’re actually beautiful,” he told the Varsitarian.
The Thomasian artist added that the collection featured in his solo exhibit was his “journey through watercolor” as he took a more stylized and abstract approach.
The exhibit’s centerpiece was its namesake, “Eskinita,” a 36×48-in. abstract portrayal of an alley painted in warm colors.
Looking closely at the watercolor work, exhibit-goers can see an image of a horse, which symbolizes power.
Calderon’s works also portrayed everyday life in the backstreets, like in “Buhay Looban sa Eskinita,” a 29×21-in. piece, and “Kuwentuhan sa Umaga,” a 18×23-in. watercolor painting depicting gossiping women.
Beyond mere passageways, alleys are the “arteries” of cities through which urban life exists and flows through, Calderon said.
“These [alleys] are our passages as a nation, as a country, that we don’t pay much attention to,” he said. “But, this is our life, especially in the city.”
Also on exhibit was Calderon’s depiction of iconic alleys of Intramuros in Manila in “Tag-ulan, Eskinita Intramuros,” a 30×21-in. watercolor painting.
“I wanted to show that alleys are part of our culture and way of living,” he said.
Calderon graduated from the University in 1986.
In 1994, his work was recognized as one of the five best watercolor paintings in the 11th Kulay sa Tubig Watercolor Exhibition.
He was named an “Outstanding Individual in Chosen Respective Field” in April in the first Outstanding UST Atelier Alumni Honours.
Calderon’s “Eskinita” solo watercolor exhibit will run until Nov. 4.
