Ernest Concepcion & Ana Verayo @ Modeka May 16, 2026
Ernest Concepcion & Ana Verayo @ Modeka May 16, 2026
Amiel Gerald A. Roldan™
May 16, 2026
Ana Verayo ★ Ernest Concepcion
START 05162026
Child World Grotto
MODEKA ART Warehouse 20A, La Fuerza 1, 2241 Don Chino Roces Avenue, Makati City 1231 Metro Manila
The Modeka exhibition by Ernest Concepcion and Ana Verayo, opening 16 May 2026, stages a deliberate interrogation of authorship through a sustained two‑handed painting practice signed collectively as AVEC; the show foregrounds material contingency, dialogic mark‑making, and a politics of co‑presence that reframes the canvas as a site of negotiated agency.
Context and Institutional Frame
- Venue and date: Modeka, opening 16 May 2026. The gallery’s programmatic emphasis on contemporary abstraction and collaborative projects situates AVEC within an institutional lineage that privileges process and archive.
- Artist backgrounds: Ernest Concepcion brings a history of layered enamel and oil practice that often collapses figuration and mechanistic motifs; Ana Verayo works across painting and practice-based research with an emphasis on surface and gesture. Their respective histories condition the collaborative outcome.
Formal Analysis
- Surface as conversation. Paint is treated not merely as medium but as interlocutor: impasto and thin washes alternate, creating a palimpsest where earlier marks are both preserved and contested. Texture functions as index—it records the temporal sequence of two hands negotiating space.
- Compositional choreography. The paired canvases read as a diptych of negotiation: one panel often retains linear figuration and diagrammatic marks, the other accumulates painterly accretions and chromatic counterpoints. This alternation stages a rhythm of assertion and concession that is central to the work’s meaning.
- Line and objecthood. Fine black line work—sometimes anthropomorphic, sometimes mechanical—operates as a connective tissue, binding disparate painterly events into a provisional narrative without resolving authorship.
Theoretical Stakes of AVEC
- Signature as ethical device. The acronym AVEC (Ana Verayo + Ernest Concepcion) functions less as branding and more as a procedural contract: it erases individual attribution while making collaboration legible. This is a performative signature that both anonymizes and amplifies the politics of co‑making.
- Authorship and agency. By signing AVEC, the artists invite viewers to read the canvas as a site of shared decision‑making. The work thereby critiques the romantic myth of the solitary genius and proposes a model of distributed creativity where responsibility and credit are communal.
- Aesthetics of cooperation. The exhibition reframes aesthetic judgment: success is measured by the coherence of dialogue rather than stylistic purity. Tensions—visible in overpainted gestures and competing color fields—are treated as productive residues rather than failures.
Reception and Viewing Strategies
- How to look: Move between panels slowly; track recurring motifs and note where one hand appears to respond to another. Prioritize processual reading over iconographic decoding.
- Curatorial implications: Modeka’s placement and lighting that allow simultaneous viewing of paired works will accentuate the dialogic structure; the gallery’s archive orientation encourages viewers to consider sketches and underpaintings as part of the work’s ontology.
Conclusion
- AVEC reframes painting as a negotiated practice—a staged ethics of making that foregrounds contingency, mutual correction, and the social life of marks. The exhibition is an important contribution to contemporary debates on collaboration, authorship, and the material politics of paint.
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Amiel Gerald A. Roldan™ ' s connection to the Asian Cultural Council (ACC) serves as a defining pillar of his professional journey, most recently celebrated through the launch of the ACC Global Alumni Network.As a 2003 Starr Foundation Grantee, Roldan participated in a transformative ten-month fellowship in the United States. This opportunity allowed him to observe contemporary art movements, engage with an international community of artists and curators, and develop a new body of work that bridges local and global perspectives.Featured Work: Bridges Beyond Borders His featured work, Bridges Beyond Borders: ACC's Global Cultural Collaboration, has been chosen as the visual identity for the newly launched ACC Global Alumni Network.Symbol of Connection: The piece represents a private collaborative space designed to unite over 6,000 ACC alumni across various disciplines and regions.Artistic Vision: The work embodies the ACC's core mission of advancing international dialogue and cultural exchange to foster a more harmonious world.Legacy of Excellence: By serving as the face of this initiative, Roldan's art highlights the enduring impact of the ACC fellowship on his career and his role in the global artistic community.Just featured at https://www.pressenza.com/2026/01/the-asian-cultural-council-global-alumni-network-amiel-gerald-a-roldan/
Amiel Gerald A. Roldan™ curatorial writing practice exemplifies this path: transforming grief into infrastructure, evidence into agency, and memory into resistance. As the Philippines enters a new economic decade, such work is not peripheral—it is foundational.
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A multidisciplinary Filipino artist, poet, researcher, and cultural worker whose practice spans painting, printmaking, photography, installation, and writing. He is deeply rooted in cultural memory, postcolonial critique, and in bridging creative practice with scholarly infrastructure—building counter-archives, annotating speculative poetry like Southeast Asian manuscripts, and fostering regional solidarity through ethical art collaboration.
Recent show at ILOMOCA
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