There are no visible human beings in this body of Cholo’s work, but it evokes something deeply similar, that of relics of a felt and present witnessing. The body of work in Vistas makes and takes a frame of stillness from the sense of a bigger natural world at large that continues to be in motion. To look at the grass, waves, sky and shadow tones is to almost see them move and flicker and wave in a wind one can almost imagine, and cicadas one can almost hear. One can even imagine the same view or vista at a different time of day. Where there is a splash of water, one can feel as though they are on the boat themselves. Sometimes the paintings feel like an everlasting loop of a particular vignette of organic matter simply being.

I often find myself in states of searching. There was a time maybe that I would have said yearning, but it is not exactly wanting that underpins that which has me grasping at the unknown.I do not even know what it is exactly that I seek to know. I do not even know if it is knowing exactly that I seek.Kapa is a Tagalog word that conjures up the image of feeling with arms and hands outstretched, often in the dark, when touch is the sense you must rely upon to understand the space you are in, where...

The image of a blue sky, whether it be witnessed live at the present moment, recalled from memory with eyes closed or open in the escape of a daydream, or seen painted or photographed, is often a visceral experience. It is a sight and sensation that is at once universal, belonging to all, and yet also very particular to each of us.It beckons a number of complements and contrasts. It speaks of a greater expanse and beyond that draws up the fantasy of getting whisked away in flight, and yet also o...

There are those who, within the confines of the grid, weave themselves into its corners and across its spaces, like roots and vines spreading about. They do this as masters of the grid attempt to insist upon positioning them as chess pieces square within the center of each box, straightly lined up. And much like roots and vines, the grid begins to stretch and bend to the rhythm and movement of their growth. Some forms are retained, but the entanglement becomes more prominent and bends and breaks the grid into shapes and modes it could not have imagined. Shapes and forms that may have always been, and just overlooked and ignored by the grid in its self-absorption.

In this episode of Artists Talk, artist Jed Gregorio is interviewed by Gabrielle Gatchalian, independent curator and international liaison for artist-run organisation 98B Collaboratory, about Gregorio’s young yet distinctive body of work, including the 2019 exhibition “New Frontiers in the Evolution of the Blood of the Immortal Poets” and his latest work “Godhood”, recently shown in Kyoto, Japan.
Listen to the podcast and see the transcript of the interview below.
 
Welcome to this episode of Ar...

By Gabrielle Gatchalian

Meeting an internet personality in real life can be a very strange experience. Part of us might feel like we’ve come to know the photographers, artists, and bloggers we follow on social media. We get a peek into their day-to-days through Snapchat and Instagram Stories. We get to hear them rant or rave about both the biggest and smallest things through Twitter.
It’s even more surreal to actually show up at their door and spend a day with them. All of a sudden, you’re abou...