Wilfredo Offemaria Jr. continues his critical discourse on faith via the visual arts in “Abstraction, Obstruction 2.0,” shown during the 11th edition of ManilART festival over the weekend. The new
Abstraction is not just a question of form but an experimentation of medium.
WHAT business would a renowned portrait painter have to do with abstraction? No more opposite sensibility is there than these two genres whose concerns and goals are so distinctively apart,
His was an act of courage, bristling with anger and sarcasm. It was the voice of outrage, at last giving vent to a long-observed phenomenon, and in his refusal to acknowledge the death of the art that he loved most, he took up the cudgels for other artists who, while longing to get those juicy commissions, resent the subservience demanded of space, scale and chromatic specifications, working under instructions handed down by architect, engineer and interior designer.
Ross Capili and Pinggot Zulueta are stalwarts in photography and photojournalism, but both have also a growing abstract art practice.
Time is an abstract concept. We use it to measure the distances between events—in the past, present and future—as a sort of container of sequences.
Heraclitean change as the only constancy is the subject of Camille Ver’s new show, “Transition,” which will run at Galleria Nicolas in Glorietta June 24 to July 8.
Abstract painter Jane Arrieta Ebarle will join this year’s roster of artists in ManilArt 2013.
Abstraction is an aesthetic form that can be intensely expressionistic. Working with feelings and emotions instead of the deliberate rules of anatomy, or the philosophical constructs of mimesis, abstractionists are a purer type of artist.
Cityscape architecture is very often an abstractionist’s dream. The confluence of shapes, forms, lines and colors merges with the organic “vibe” of the city to create a powerful image—one that any abstractionist would seize upon with relish.
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