Candidates of the Master of Fine Arts program from the UP College of Fine Arts under the tutelage of Prof. Ling Quisumbing-Ramilllo present their exhibition

INTERRUPTIONS 6 December 2015 – 6 January 2016

Featuring critical approaches and revisions in each of the artist’s chosen medium and interest, the works delve into overlapping themes from the nostalgic and sentimental, to the use of material as connotative of metaphor, and to new modes in employing storytelling and furthering the means of narrative.  Multi-level “interruptions” were explored in practice, as digressions in each of the artist’s process to make mark and explore new modes of utilizing visual language.


JINA ANDAYA:  My works attempt to tell the story of my aunt, Rizalinda David, whom I call Tita Liling.  Her old photographs that are slowly fading away just like her memory, the old bench which had seen better days, and the wood scraps, which used to be parts of the house but were recently removed due to decay.  Collectively, they all represent my aunt who is, at the moment, fighting Alzheimer’s disease, the mental disorder from which the female members of her family succumbed to, including my own mother.  Through these I want others to know that in spite of her present condition, my Tita Liling still manages to exude an unmistakable joviality and charm and this can make one realize that growing old will take a toll on one’s mind and physique but never on the spirit that refuses to surrender to senescence. ~ Jina Andaya

For Andaya, interruptions  are breaks in the normal flow of life. As one looks ahead there comes a time when one needs to stop momentarily and look back to see how far one has gone. Without momentary pauses, life will pass by swiftly without a chance to savor the essence of what one has become.


SAMANTHA FELEO: The horizon is the supreme locus of promise and possibility. It stands for the potential to transcend our present limits, to enlarge our view, to explore, to go beyond the boundaries of what we know. It tantalizes with the knowledge of what is unseen beyond it even as it traces a limit. The sea horizon symbolizes a limit that is not fixed that is potentially always to be pushed further on and moved beyond, as we seek forwards towards what is unseen.

In her work, the artist takes on the concept of the horizon as a figurative and analytical device used to negotiate the relations between experience, everyday life and historical time. The work is about examining the temporal structures of experience and expectation. In this work, the sense of historical time is generated through the tensions between experience and expectation, everyday life and social process.

Working with the same theme for her sculptures, the artist furthers her exploration of the element of time. The process of firing the ceramics and crystal growing takes a considerable length of time with a high risk of failure. Overtime, the crystal surface will gradually lose their color and melt away as they are exposed to oxygen. As an ongoing work, each piece will bleed its color into the paper surface and the crystals will disintegrate revealing another layer that is as ostentatiously rich in detail.

JOHN IAN LEE FULGAR: The work is about rhythm and the patterns of presence. Vertical anecdotes that break up the horizontal plane. Like the sharp piano keys laced snugly within an octave, they transpose the notes. The melody. A song. An unspoken poetry composed of nine pillars of two related heights in ratio. Dancing without motion. On a white planar surface stage of nothingness. Of space infinite. Of time frozen. Together they form some kind of spatial and visual cadence. A bond they could not break no matter their distance because it is this very distance that binds them. Relationships. The work is also about restraints. A statement. Devoid of contemporary spectacles. Following fundamentals. Taking Structure. Having composition. Of advancing by receding. Of being empty and shadowed. Of taking up this poetry with you without even being there. Only by making my presence felt. Of rhythms. Of patterns. Of making my presence felt.

Interruptions for me are a quiet melody that people tend to ignore to hear because we tend to prioritize an errand or a need. My work asks you to hear visually the rhythms and patterns to call attention by filling in the spaces and become the interruption itself. ~ Ian Fulgar

JASON MOSS: “The Politician” by Moss connects the viewer and dissuades them into thinking of Philippine politics and the dynamics of power. The juxtaposition of projected images evoke two separate ideas of existence– reality and fantasy interrupted by thought, in this case of light refraction resulting to multiple projections and dynamic shadows and of images passing through each other.

JONATHAN OLAZO: For me and my work, “interruptions” describe the many stoppages in an otherwise linearity of artistic approaches and material techniques. Going in parallel directions, these abbreviated segments are juxtaposed and are given to other meanings, perhaps an ideal kind of interruption in an otherwise, also, logical narrative.  These abbreviated segments are interesting because they are already conclusive in themselves.  When placed with other abbreviations, leaving an interrupted chasm of open possibilities, these proceed to a simultaneous encounter that explores the relationships within the painting–of form, content, texture and meaning.    ~Jonathan Olazo

DANTE PALMES: D. Palmes takes on the medium of the wood using carving strokes unique to him as his brushstrokes to his impasto paintings. Unlike the buildup of paint applications, this time he diminishes materials to reveal forms, which can be appreciated from all sides. With every etch he leaves behind a trace of the moment of a theme revolving about the celebration of life through fertility, attraction, and abundance. The art transposes traditional wooden sculptures into modern day interpretations molded by an experimental surface texture and wrapped with colored finishes. The almost suggestive human forms are rest.

Bryan Quesada:  Quesada’s work features movement and light to make time visible.