失落的對話 - 派翠西亞.伊斯塔柯個展|6.2-7.14|安卓藝術

失落的對話 - 派翠西亞.伊斯塔柯個展|6.2-7.14|安卓藝術

 

失落的對話 – 派翠西亞.伊斯塔柯個展

展期|2018年6月2日-7月14日
開幕講座|2018年6月2日(六)3:00pm
開幕酒會|2018年6月2日(六)4:30pm
地點|安卓藝術
更多資訊|www.art-msac.com


安卓藝術很榮幸推出菲律賓藝術家派翠西亞.伊斯塔柯(Patricia Perez Eustaquio)個展「失落的對話」,這是繼2014年「巴別輪廓」之後,我們為伊斯塔柯舉辦的第二次個展。展覽將於2018年6月2日至7月14日舉行,6月2日星期六下午3點,藝術家講座將於展覽現場進行,接著,開幕酒會於當日下午4:30開始,我們誠摯邀請您的蒞臨。

伊斯塔柯傾向從較為雕塑性、或者說物件的角度處理繪畫,一路沿著虛幻與華美、微物與崇高的思辯發展,亦開啟了藝術表現語彙的諸多可能性。織品的多變、柔軟與豐厚肌理一直深深吸引著伊斯塔柯,近期她深研以織毯創作繪畫的潛質,使用當代科技,進而「不透過繪畫而展現油畫的揮灑手法與表現方式」。作品《失落的對話》是一則對菲律賓近代藝術發展史的回應,其圖像源自於當時旅居西班牙的菲律賓藝術家璜.魯納(Juan Luna)創作於1881年的油畫《克麗奧佩托拉》(Cleopatra,亦稱《克麗奧佩托拉之死》Death of Cleopatra)。這件畫作在伊斯塔柯心裡挑起了關於帝國主義、全球化脈絡、文化認同與挪用、繪畫的生與死等盤根錯節的種種思索,她遂而透過攝影、圖像後製、數位化編織的手法,以《失落的對話》為名,轉譯了這件出自早期菲律賓藝術家之手的非天主教主題重要作品,她說:「許多事物會在轉譯中丟失,但我想,許多新意也因此生成。每個後續的轉譯都導致原義的毀損,這當中的形態轉換類似於熵(entropy),而資訊的融混總能提出獨特的新觀點,無論它是否有趣。」

圍繞著此一主題,伊斯塔柯亦展出多件紙上作品。延續她一貫探究肌理、物件片段、形狀、工藝的脈絡,並溯及歷史、記憶或典故,藝術家以石墨繪出崎嶇嶙峋的石狀形體,細節豐富而層層堆疊,它們凌空存在空白的背景裡,襯以具有平面感的閃爍金箔。透過擷取自油畫顏料堆或其他物件的細節,伊斯塔柯訴說著曾經華美的腐朽與殘屑,發掘微物的潛質,並賦予這些細微平凡的物件一種意料之外的崇高美感。

2 Jun. – 14 Jul. 2018
Venue|Mind Set Art Center
Artist Talk|3:00 pm, Saturday, 2 Jun. 2018
Opening Reception|4:30 pm, Saturday, 12 Jun. 2018

Mind Set Art Center is delighted to present a solo exhibition by Patricia Perez Eustaquio “Conversation Among Ruins” from 2nd of June to 14th of July. This is the second solo exhibition Mind Set Art Center holds for Eustaquio following her “Figure Babel” in 2014. The artist will give a talk at 3 pm on Saturday, 2nd of June, followed by the opening reception starting at 4:30 pm. You are cordially invited to attend the event.

Eustaquio is a multimedia artist, whose practice integrates painting, drawing, textile and sculpture. Taking an object-based perspective, Eustaquio examines ideas of vanity and vanitas, the trivial and the sublime, while also exploring the possibilities and limits of artistic expression through various forms.

Eustaquio’s second solo exhibit in the gallery centers on Conversation Among Ruins, a tapestry that the artist worked on for several months, reflecting on the painting, Cleopatra (or, Death of Cleopatra) by Juan Luna, painted in 1881 while the renowned artist was studying fine arts in Spain. Luna’s painting mirrors complex issues that Eustaquio herself has been exploring in her own practice: questions of ownership and authenticity, identity, and cultural appropriation. For this tapestry, Eustaquio maps out the central image of Luna’s painting into blocks of color, replacing and re-appropriating Luna’s image with readymade images of paint. The entire image was then stripped of color, rendered monochromatic, translated like a photograph, and fed into a digital loom. She said: “There are many things lost in translation, but I think, many could be gained, too. Each subsequent translation lends to a deterioration of the original context, a kind of entropy as one form becomes another. (B)ut the muddling of information could provide a perspective that is unique, if not interesting.”

A number of works on paper is shown alongside this exhibition. Furthering her interests in texture, fragments, shapes and craft, Eustaquio integrates history, memories or allusions to create rock-like formations with graphite. Featuring craggy shapes and rich details, these objects float in blankness, accompanied by contrasting fragments of gold leaf. Through depicting details of paint drops and other objects, Eustaquio constructs a narrative on decay and detritus: once glorious, now reveals the potential of trivial things, and gives an unexpected nod to the ordinary.