RAY ESGUERRA tackles what he calls the “art of silence” in his exhibit “Resonance III: A Sound within the Span of Silence,” which opens today at Andres Restaurant, 2224 Don Chino Roces Ave. (Pasong Tamo) and Don Bosco St., Makati City.
Esguerra says his paintings amplify the Zen teaching that “enlightenment can be attained through meditation.” He explains that he subscribes to Oriental simplicity and harmony. He says Oriental artists are interested in visualizing the spirit of an object, rather than its natural image.
Esguerra says it is the duty of artists “to look at things around him from a different perspective.” This could be achieved through “reflective meditation, to validate the importance of things that surround him.”
He says feelings play an important part in visual perception. Through his works, he wants “to reveal what is unseen,” like sound.
Sound waves are classified as “barely visible linear motion.” Sounds created by the intervals of vibrating instruments and the voice are a good representation of invisible linear movement. Fine movements and the mobility of incidental strokes forming segments of lines can be placed in any designed artistic expression, argues Esguerra.
In the painting “Resonance of the Rainbow,” the symmetrical composition is made up of geometric and analytical forms combined to create a strong transition in terms of movement, and corelation between texture and colors.
Influences
A Fine Arts graduate from University of the East, Esguerra says his influences are modernist, such as Lao Lianben, Gus Albor,
George Rouault.
Lao was one of Esguerra’s teachers. His works bear Lao’s “deliberate brushes of acrylic, charcoal and other mediums on his canvas.”
Albor’s influence could be gleaned from his “rendered brush strokes.”
Tedious process
Esguerra’s works, mostly in mixed media, are composed of segments of lines, forming multilinear strings pasted on the surface of the canvas. It is a tedious process of careful laying of strings, fibers and wood cutouts, to achieve his desired design.
One can recognize different effects according to the distribution of the multilayered strings. The contrast is reached through the intensity and the degree of haze of the pigments.
Colors are limited. He says brilliant colors are not needed to create contrast. Sometimes the natural color of the material is used.
He says burnt umber occasionally appears in some areas of his paintings. Umber represent the rich earth color, and the essence of being mature and subtle.
The geometric figures and the symmetrical views of the objects are formed through monochromatic hues and the dry-brush technique in the application of color.
Esguerra has trained as a conservatoire of paintings in Singapore and at the National Museum, where he has conserved and restored important and priceless paintings.
He was one of the two National Museum conservatoires who did the restoration of works by National Artist Carlos “Botong” Francisco in the collection of the Government Service Insurance System.
The exhibit is in collaboration with Art Gallery Asia. It runs until Aug. 15. Call 4039525 or 0917-8362907 for reservation or inquiries.
