VIRTUAL ArtistSpace presents its first virtual exhibition, CUTTING CORNERS. With works produced during the pandemic, Cutting Corners surveys the different realities, thoughts, and ideas of nine artists. Together, they form a visual anthology that looks at the consciousness, meanings, and processes in art-making while navigating through a time of uncertainty and disquiet. The exhibit will run from November 6 to 26.
The transparency of diamonds is imitated and replicated in Floyd Absalon’s work. Absalon painted the image with the absence of the color white, allowing no room for erasures. The result is a glimmering resemblance of the form in its crystal structure.
Strokes of paint, which remind us of early abstract impressionism, drive the force behind Bea Aspiras’ series. In Romantic Comedy, the interspersed dabs of paint are symbolic of a linear equation where at one point, two lines intersect, like parallel lives waiting to meet.
Meanwhile, the work of Gab Baez is drawn from an image of an erupting volcano. Working on it halfway, she was reminded of Gaia, the personification of Earth in Greek mythology.
Here, the canvas takes the wrath of Mother Earth.
Andre Baldovino’s art practice delves into the idea of control in the process of automatism. In his work for this exhibition, the artist focused heavily on the insertion of forms. Steven Burce’s work manifests abstraction through the pixelation of an image.
Pepe Delfin’s Calamity City is from an ongoing series that reflects on current events. This particular work was initiated in the aftermath of the Taal Volcano eruption, and was worked through the months following the pandemic.
Bayani Galera’s In the Middle of Chaos contemplates the pandemic’s effect on the academic system. Chairs represent how educational institutions crumble during these difficult times. However, one of the chairs remains standing and upright; a testament to our resilience amid the disorder.
Kat Grow’s The Other Side Is Always… attempts to create a different identity from the rest of the works she had produced. Made from handmade watercolor paper, the material was folded and resulted in lines made from its creases. Grow then repeatedly stained the paper to build up color.
Miles Villanueva’s work for this exhibition visually describes what “doom and gloom” means. The work looks into the worldly concerns and worries, as forces of both distraction and noise would frame us with limitations.