June 22, 2018, 11:17 am
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1 Philippine Peso = 261.46479 Indonesian Rupiah
1 Philippine Peso = 0.06819 Israeli Shekel
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1 Philippine Peso = 1 Philippine Peso
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1 Philippine Peso = 149.29577 Sierra Leone Leone
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1 Philippine Peso = 397.4216 Sao Tome Dobra
1 Philippine Peso = 0.16432 El Salvador Colon
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1 Philippine Peso = 0.01878 United States Dollar
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1 Philippine Peso = 1498.59155 Venezuelan Bolivar
1 Philippine Peso = 429.12676 Vietnam Dong
1 Philippine Peso = 2.02911 Vanuatu Vatu
1 Philippine Peso = 0.04869 Samoa Tala
1 Philippine Peso = 10.62592 CFA Franc (BEAC)
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Cristina Escario’s ‘Dahon Transience in Infinity’

By Neil Doloricon

CAN art be subjective and objective at the same time? This is really a philosophical and scientific question. For example, Italian mathematician Leonardo Fibonacci discovered the aesthetic properties of nature which he expressed in what we now call the Fibonacci sequence – a series of numbers where the next number is found by adding up the two numbers before it. This commence from 0 and 1, the sequence goes 0, 1, 1, 2,3,5,8,13, 21 and so forth.  

The Vetruvian man of Leonardo da Vinci is a classic presentation of the links between human proportion, architecture and symmetry which is the basic proportion of all designs. This is also true in the golden ratio, also a design proportion that can be found by dividing a line into two parts so that the longer part divided by smaller part is also equal to the whole length divided by the longer part.

Recent exhibit of Cristina Escario, MFA student from UP Fine arts, entitled “Dahon Transience in infinity,” revisited the classical and basic foundation of design in her thesis exhibit. It took her a while to come up with an idea on what to propose for her thesis. While strolling in some areas of the UP Diliman campus, to ponder on what concept and medium to use, she came across with an enormous scattered pile of big dried leaves getting in her way, which she started to collect for four years – yes, for four years – while  contemplating  on what to do with them..

Escario observed and studied the leaves trying to find their intrinsic qualities, which gave her the push to investigate further. It was as if she had discovered a gold mine in her quest for a perfect medium and concept. Her story is similar to that of a man who travels to different places in of search of wonderful butterflies, only to find out that the most beautiful butterflies could be found in his own backyard.

She did not pick the leaves from the branches of trees. They were leaves that had fallen on the ground. Storing the leaves and protecting them from decaying proved to be a tall task for her. She had to use science to delay the decomposition of the leaves and to make the easier to manipulate. She applied a glycerene solution to the leaves. But eventually, nature had to take its course and the leaves decayed.

She finally unleashed what she thought to be the appropriate timing by using the dried leaves as her materials for installation for her proposed masteral thesis. The use of organic materials, according to Tintin, is a reaction to synthetic and harsh chemical based product which she used previously in her many oeuvres. The pattern she made, which was based on the golden ratio, is also metaphor for life as well as in nature , as stated by Tintin, which has its ebb and flow and continuity. “Transience in Infinity” speaks of the relativity and universality of nature.

The concept of the disintegration of leaves may relatively vary its longevity depending on its botanical properties and its environ. But there is the universality that all of those things will decompose sooner or later. 

The passage of time and the transformation of nature and its evolution from birth until its maturity and began its aging process of decomposition. For Tintin it is at the stage of the aging leaf that began its engagement into the realm of aesthetics.  The result of this creative process of making massive installation of leaves is astonishing, leaves reinvented. 

She likens her application of repetitive symmetry in nature to form an imagery reflecting her spiritual journey and her transformed perception of created order. Fibonacci has a mathematical explanation of nature’s wonder in design. By way of atoning oneself with nature it gives us the mystical sojourn of our metaphorical soul that is inscrutable. So there are things that can be explained and observed by science. But the aspect of metaphysical has another way of proving itself through emotions. As Indian mystic Tagore would argue with Einstein that”It is a relative world, depending for its relativity upon our consciousness,” his argument is that beauty and truth are completely dependent on the observing them, that there is no beauty without an admirer, and no truth without a believer.

Picasso may not agree with Escario’s proposition. Picasso blurts that “Art is not the application of a canon of beauty but what the instinct and the brain can conceive beyond any canon. When we love a woman we don’t start measuring her limbs.” 

Escario wants to share the visceral experience that one might indulge into the realm of transience and the infinite spiritual world she created out of the Fibonnaci rhythmic order of the leaves. 

For Escario, her massive installation is an engagement with her audience to awaken them into appreciating and celebrating nature’s way of creation, its transition and the passing of precious life and time as elements of beauty, that our universe, or perhaps God, if you will, has offered.  
Rating: 
Average: 4.3 (3 votes)

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