REHISTRORIKA
"Our time is so short and the future so terrifyingly long. Through the art of brush, pen, and lens ... we possess a swift and sure means of touching the conscience and clearing the vision." -- Ansel Adams
In his first solo exhibit, Kirby Roxas, a much-awarded contemporary artist, focuses on the plight of minorities. REHISTRORIKA reexamines, rethinks and reconsiders. It is a visual rhetoric on the disconcerting neglect of a portion of our country’s population that has resulted in discrimination, inequality and miseducation. He directs his reevaluation on the economic difficulties and social disparities and queries on their existence.
Roxas searched through archival photographs and illustrations from the 20th century and his personal photo collection to acquire the supportive imagery to put forth his message. The artist utilizes these images in
conjunction with specific symbolic devices. Coupled with his distinct stylistic refiguration and pixelation, the resultant works provoke our concerns while uplifting our aesthetic faculties.
The fact that this collection is rendered in gray scale further reinforces the indeterminate and somber attitudes generated by the prevailing systemic imbalance. Each painting is an encodement waiting to be decoded. It challenges our positions into an artistic paradox – pushing us away a certain distance for a fuller appreciation whilst beckoning us closer to view its gradation and detail.
Roxas intentionally made use of letters, numbers, words and phrases interspersed and interplayed with his own visual language that gave rise to enigmatic works awaiting encryption. The tension created through his visual dialogue goes beyond the canvas — it suspends and stimulates, articulates and questions as it blurs to clarify.
REHISTRORIKA is a provocative visual anthology that contextualizes the minorities’ concerns through gestalt forms and figurations. Kirby Roxas causes us to squint in order to perceive – there is more than meets the eye in both the artist and his artistry.
Kirby Roxas’ 1st solo exhibition is presented by Britania Art Projects. It will open on May 24, 2008 at 6 p.m. in Boston Gallery, located at #72 Boston St., Cubao, Quezon City. For inquiries please call 387-6373 / mobile 09178070327 or email britania.artprojects@gmail.com
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Paintings that comprise the REHISTRORIKA collection are the following:
SEPARADO (CLASS ATTENDANCE: Present) depicts a seated child from the minority, juxtaposed with an imaginary armchair and school ID. This is an inquiry on the privileged or more likely, underprivileged state of education for the minorities. The background is a pixelized class picture the child should be a part of. Unfortunately, minority children are not prioritized due to the lack of civil registry requirements or documents and their parents’ financial instability.
SEPARADO (CLASS ATTENDANCE: Absent) is a visual reversal of SEPARADO (CLASS ATTENDANCE: Present). It still deals with the issue of educational opportunities and missed opportunities. It emphasizes the lack of concern for the children themselves when the academic system was being conceived. Both SEPARADO paintings reflect the minorities standing within the social strata.
LITERAL concerns itself with the subject of oratory. This work presents a portrait of a child molded through a showering of letters from the word WIKA down to the pixelated word DIWA. This questions the act of learning under the pedagogy of an imbalanced educational system.
KALKULADO is rendered through a numeric approach. Similar to LITERAL, it presents a child's portrait, however, in this case the image is cast under a shower of numbers from the word DAG-DAG down to the pixelated word BAWAS. The sum of which is an imbalance and miscalculation of student management and miseducation.
BALAT-KAYO is a pixelated portrait of a woman from the minority in search for registration. In order to adapt and be part of the so-called system, minorities are subjected to laborious and confusing obstacles. The maze and pixelized image is a reflection of our perplexed and at times, indistinguishable sense of national identity.
SISTEMADO makes use of the bar code in its portraiture. This is a query on how our brothers have been marginalized and disregarded by the system.
DIASPORADA mirrors the dilemma between staying and going, of settling here and working abroad. An image that echoes migration is portrayed in separate temperaments. The upper part is done in a pixelated form, inscribing the word MALAYO (abroad). The lower part is juxtaposed with a passport number under the pixelated word MALAPIT (home). The whole image is connected by a maze-like path that is contoured like the digestive system, evoking the motive which in the vernacular is known as panawid-gutom. The issues of separation and the underlying reasons that instigate this predicament are highlighted in this work.
deLIMITADO manifests the dream of minorities to be formally educated, earn a degree and be part of society. This graduation picture is replete with hopes and dreams for a better life ahead.
