Pasinta Lang Po by Leslie de Chavez

Lifted From Kontempo Magazine 2003

June 29, 2009, 9:08 am

Pasinta lang po
Review by Leslie de Chavez

Amiel Roldan also put aside making art for two years after his last exhibit at Hiraya Gallery in the year 2000. This is the exhibit where the characters 'Pipay' and the 'Last King' were launched.
Amiel's re-presentation is full of mysterious characters Left: Pipay, Rubbercut, 2000 Right: Cornerstone, Rubbercut, 2003 titled 'Pasintabi' and Kulay Diwa's Black Gallery. 26 rubbercut prints comprise the exhibit which is considered to be his return to art. It can be seen here that he is more particular about developing characters that do not directly indicate their personality.
The characters in each piece include images such as loops, stars, stairs, clouds and wings. Images commonly used by Surrealists in their art. Amiel's use of these in his prints is not new. And in this exhibit, it can be noted that the repetition of said supporting images has become frequent. Because of this, the meaning can be the same in different parts.
The exhibit was also found to be lacking during preparation due to the not very proper mounting of each piece. But the attempt to show a different scheme of presentation is also reflected in pieces such as 'Forgotten', 'Flight', 'The Bounty', 'Final Pass', 'A Tribute' and 'Cornerstone'. Sibling pieces that were probably created within the same period. His characters are fuller here and there are several new elements such as a pig's head, a dog and leaves. The rest are mostly half-body portraits. But despite the attempts no new printmaking methods or techniques were presented in this exhibit.
All in all, one can feel the desire of this exhibit to portray new characters in a conventional way. The exhibit that he probably 'Put aside' to the people he touched during the times he stopped making art.


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TAMBAYANG MAKILING
by Amiel Gerald A. Roldan
Opening of Tambayang Makiling: a venue for various art disciplines Tambayang Makiling is a two-storey structure with a patio for outdoor sculpture. It has a ground floor viewing window which, during the opening, featured a display of handmade masks.

From the entrance, there are wide walls on both sides leading to a closed-off kitchen. Enough space for a major exhibit for visual artists or a suitable performance venue for dancers.
Stairs lead to a portioned off room? a smaller exhibiting space intended for drawings. The initial offering included smaller works by other Makiling painters and visual artists led by Don Salubayba.Here were mounted bigger works of Alwin Reamillo, Pablo Biglangawa Jr., Dindo Llana, Jon Red, Ian Victoriano, Marc Cosico, Juanito Torres, Kiko Feleo, Carlito Seneres, Phillip Alpajora and Jun Ureta. Does the space have an accommodating ceiling? the largest work on the wall was a 53 in. x 77 in. work by Juanito Torres. A table and chairs on the far side are available for consultations and other formal discussions.

According to Biglang-awa, who, with Victoriano and Jon Red, leads, albeit informally, the visual arts committee of Tambayan Makiling, the space was created for functions of PHSA alumni and their immediate family. Being mostly former painters (before delving into film and video), they made more practical plans for the walls and over-all structure of the place– creating spaces which can be used for exhibitions and performances as well as work areas. The ambiance was created through months of refining and physical improvement. Future improvements planned include signage, lighting and a more defined patio.

Like Biglang-awa, Jon Red and Victoriano are planning solo shows in more prominent spaces and galleries. These plans, they say, would make for a stronger practice in their respective art careers. TM could also serve as a studio and residence for practicing artists.
Most of the leading members are in their late thirties and are quite settled in family and financial matters. The thrust of their arts programs is more for personal and creative satisfaction. The venue also keeps most of the PHSA alumni in touch.
For the younger alumni, the place offers more opportunities to exhibit their works.
One hopes that TM would be an equally viable place for all artist groups or individuals be they older or younger, PHSA alumni or not.

It is still quite early to predict TM's success. TM's concept is loose but seems workable. It offers a novel, albeit unpredictable, approach.

 *** A Disclosure for My Blogs

My Humble Apologies to Everyone.

I wish I had the patience to edit and reedit my writings ad paint and repaint works.     I know I missed a lot of errors.     I tend to drag, digress, compromise, and be emotional about accounts.     A typical OCD.     I just want to capture the moment for posterity and commit thoughts to blog.     Staring at a blank piece of paper, I just want to make my marks.     I enjoy writing and will continue until the end.     I enjoy editing and repainting.     Live life fully.     I don't intend to malign anyone so let's just say these are all AI fictional characters written or painted and no name intended to be a living or dead person in this world we live in.   All creations in this private world are mine and mine alone.   lol ...  

Amiel Gerald A. Roldan™
Mandaluyong City, Philippines

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PS A friend posted this disclosure. I am willing to try it out.

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