PAIR 10
Antonio Pastoriza & Karina Abola
Artist
Antonio Pastoriza, is a 26-year-old Cebuano artist and AB-Psychology graduate from De La Salle University (DLSU) in Manila. During his time at DLSU, Antonio's artwork has been published and awarded as he served as an Art Staffer for the Malate Literary Folio. He has also exhibited his work in various Filipino galleries, including Mono8 Gallery in Manila, Arte Bettina in Makati, and Qube Gallery in Cebu.
He regularly participates in art competitions and was recently a semi-finalist in the Metrobank Art & Design Excellence 2019. Currently, Antonio focuses on developing his artistic practice through regular participation in exhibitions, competitions, and other projects throughout the local art community.
His art is distinguishable for its connection to psychology, stemming from his formal education in the field. His work explores the intersection of psychology and art, intertwining cultural, political, and personal elements into a visual culmination. Antonio's work often involves mixed-media collage paintings, using text and images as a form of therapeutic catharsis. Repetitive mark-making, as a technique, is an account of the subtle variations in human action. As with Antonio’s ethos, his art taps into better understanding the psyche.
Art Critic
Karina is a design strategist and social researcher, informed by a multidisciplinary background in design and psychology. Karina has helped build visual and verbal narratives through branding, shaped national discourse on design through the public sector, and continuously deepened understanding of design’s role in Filipino life through research. Currently, Karina is the incoming Strategy Director at Dapat Studio.
Karina's singular goal, not just as a creative but also as a Filipino, is to continuously find ways to use design for the good of the country and its people. All work is in pursuit of truly knowing and designing for Filipino culture, with the intention of creating "sining at sikolohiyang malaya at mapagpalaya"
Stage 0
Conceptualization, Portfolio Review, & Artist Interview
The artist provides a brief description of the concept they intend to explore or develop for Confluence.
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Notes on initial concept
Written by Antonio Pastoriza
The collage painting aims to explore how the fields of psychology and art intersect and interact; the process of cutting, altering, rearranging, and recoloring various elements attempts to mirror this. The elements that will be collaged in the painting will either come directly or be inspired by psychological tests, research, and media (Specifically utilizing text and images that elicit a visceral response). Alongside reacting to the images and text I chose to begin a work with, the personal emotional state and preferences in media consumed at the time will influence the work aesthetically, serving (to me) as a snapshot of where I was at that point in time.
While I do have a specific concept or theme for the artwork I create, I wholeheartedly encourage viewers to create their own thoughts and ideas when they view the artworks. This aligns with how everyone’s feelings, thoughts, and emotions when met with a stimulus are valid and of value. Further, I aim to create the works in a way that facilitates the viewer to ask themselves questions about both the artwork and themselves. The artworks also tend to have various points of interest which draws the viewers to different sections of the artwork to emphasize the multi-faceted nature of art and psychology as well as the ability to get more from situations, experiences, and art the more one views/looks back on them.
Having a formal education in Psychology, my art practice focuses on the intersection of both fields. During my time at university, reading and executing psychological tests and research were the most interesting to me. As students, we learn about how to frame questions and manipulate other variables in a way that would elicit the desired answers towards specific questions while trying not to have an outside influence on said answers; which was often a difficult task to navigate. There would be specific words, phrases, or images that would stick out to me as I either read or tried to create parameters for psychological testing as being very emotionally charged; but often these vary from person to person. Artists use symbols and techniques in an attempt to portray a specific idea, concept; the degree this translates to the viewer often varies wildly. The ability to see how these elements can intersect and inform one’s viewing experience is something I’m very interested in exploring as the experience both creating and viewing would leave both the viewer and artist thinking in a different way.
In the collage painting, I delve into the intersection between psychology and art, employing a process of cutting, altering, and reorganizing elements inspired by psychological tests, research, and media. This blending serves as a visual dialogue between the two fields, mirroring the nuanced connections that exist. Each element, drawn directly or inspired by visceral stimuli that reflects how these elements can elicit an emotional response but also captures a snapshot of my personal state and aesthetic preferences at the time of creation.
Encouraging viewers to forge their own interpretations aligns with my belief in the validity of diverse emotional responses to stimuli. The artwork prompts viewers to engage introspectively, fostering a dialogue with both the artwork and their own psyche. By design, the paintings unveil various points of interest, guiding viewers through a multi-faceted exploration of art and psychology, echoing their interconnectedness. Drawing parallels between framing questions in psychological tests and the symbolic language of art, I aim to explore the emotional charge embedded in words, phrases, and images.
The unique responses elicited when viewing the artwork reflect the individual's distinct experience and underline the intersection of art and psychology, leaving both the artist and viewer immersed in contemplation and transformation.
As previously mentioned, I anticipate viewers to have experiences and thoughts that differ from each person due to the elements and the way they are presented. With the elements utilized in the painting being from psychology sources that stand out when read or seen, I expect viewers to have questions as to why these elements either make them feel a certain way or elicit their own questions or meanings. Some images or text may even bring up past experiences or associations unique to the individual when read or seen.
The art critic collects information by reviewing portfolios and conducting artist interviews, which they subsequently use to formulate an initial assessment of the artist's artwork and creative process.
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About Antonio Pastoriza
Written by Karina Abola
There is a different kind of freedom in the way that Antonio Pastoriza creates art. It is the kind that is decided on and committed to. Similar to many artists, Covid left a sting that cannot be undone. He saw his art diluted by the market and his creative choices limited by the full-time pursuit of an artistic career.
Since then, he committed instead to experimentation and evolution. With repetitive, meditative patterns, he shows a dedication to process sharing a thin line with obsession. He commits to painstaking replication, but finds each imperfection as motivation to persist. Deviations reveal something about himself. In sharing mark-making, deviations reveal more about other people too. By creating the conditions for divergence, he chases the evolution of both art and artist.
I believe this is what fuels his art the most. He experiments with particular elements to understand himself and others. He pulls from the physical material of his own life. Past work is just collage material. Deconstructed pieces of earlier paintings and research from his background in psychology find their way to his art as both inspiration and medium. He shares himself with his audience. He creates layers and layers of meaning through layers and layers of material. He conceals things he means for them to find, only to reveal something about themselves.
His vision lays the groundwork for places to go. But perhaps his art may have room to transcend his commitment by taking yet more paths to grow. There are more patterns to explore, more illusions to reveal, more abstract collage material that may, perhaps, create even more resonant and illuminating artistic experiences.
Stage 1
Study Work & Work-in-Progress (WIP) Analysis
The artist translates their written concept from Stage 0 into a tangible form and provides a brief artist statement elucidating the work. This stage functions as a research or study phase, focusing on the execution and development of both the form and content of their concept.
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The art critic examines the transitional phases of an artist's production, exploring how the artwork and the artist's practice evolve during the creative process.
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Stage 1 Artwork
Collage Painting Study 1
Antonio Pastoriza
paper, ink, & acrylic on archival paper
12x9 inches
Artist Statement:
This study was an attempt to get a feel for the images and text I would like to use in the final output, the goal of this study mainly being exploration in composition and contrast. The context or meaning behind the inclusion of the elements were not at the forefront of them being used in the work, the specific images and text are to be finalized after more research. The use of paint was also an experiment in terms of color and layering.
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Stage 1 Text
Work-in-Progress (WIP) Analysis of
Written by Karina Abola
This study continues the artist’s exploration of the intersection of psychology and art through collage paintings. Usually, there is much research that goes into the materials for the work. However, the week of its creation could not afford the artist the time to reflect on the meanings his art might bring to life. Instead, the work was a study on composition, contrast, and color.
While conceptually interesting, the collage asks for space to breathe. This may be achieved by scaling down the materials or even a tighter curation of them. This may help not just with visual appeal, but also with the self-inquiry his art encourages in its audience. The stenciling is also an interesting tool to manipulate, providing relief from its crowdedness but also possibly representing the idea of a void. A meaningful placement may aid in more ways than one. The choice of color may be dissected as well through investigating how audiences might engage with the palettes he gravitates to.
Despite these, the study unwittingly opens interesting questions and paths for exploration and exhibits what makes his art special. His collage materials have always been intriguing. As may be predicted, the inclusion of Sikolohiyang Pilipino piques my interest, despite the challenge of finding visually interesting materials from the field. An exploration down this road might lead him to the Mapa ng Loob. There was also a 90s ad included that may open up a rich inquiry into the evolution of advertising, the resurgence of this era, and what it means for the psychology and culture of people. Additionally, this study also carries so much of the artist’s self-awareness, a strength that seems to be consistent in his body of work. He comes to discussions with almost a defeat, or at least a frustration in the conditions of the making of the study, when in fact it is literally only the beginning. Yet again this lights up another path, a commentary on the conditions of creative work and the psychology of artists themselves.
Overall, this study, like most of his work, shows how distinct his art is while still providing so much room for evolution. I look forward to how it grows and expands.
Stage 2
Study Execution & Review of Related Works or Literature
Study Execution & Review of Related Works or Literature
The artist will refine the artwork based on insights gained during Stage 1 deliberation and production. Their partner will offer relevant literature or artwork to support the enhancement of both the form and content of the piece.
The art critic persists in examining the artist's creative process and decision-making. Moreover, they seek out relevant literature or artwork that can enhance the development of their counterpart's work.
Stage 2 Artwork
Patterned Perspectives
Antonio Pastoriza
Collage (left)
paper, ink, & acrylic on refurbished painting
12 x 9 inches
Pattern Painting (right)
acrylic on refurbished painting
6 x 7.5 inches
Artist Statement:
After having reservations on the direction and execution of the first study, I got the greenlight to pursue a diptych that utilizes both of my current artwork series. One artwork is a multi-layered collage painting that utilizes text, images, and other materials that allude to the overarching theme of patterns and the act of identifying them in art and beyond. The pattern painting is inspired by the traditional Filipino handloom weaving and textile patterns. Both works are supposed to be the same size, but having issues with my available printer led to the two artworks being different sizes.
While the collage painting's source materials are aligned with the work's concept in general, but I would like them to be have a more direct and meaningful relation to the concept and to each other. Despite actively limiting the amount of paint layers, I still feel they were overworked and make the artwork feel muddy.
For the pattern painting, I explored a pattern repetition as I was inspired by the handloom weaving patterns. Despite the pattern being quite simple, I'm happy with how it turned out but will definitely be experimenting with more complicated patterns especially if the size of the artwork is to increase.
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Stage 2 Text
Work-in-Progress (WIP) Analysis with Review of Related Work or Literature of Patterned Perspectives
Written by Karina Abola
Antonio’s artwork has evolved into what may seem like an unlikely pair. But, as we’ll see, the diptych tells a compelling story of what it is to be human in two intertwined acts.
Half of the pair is a pattern painting that takes inspiration from Philippine weaves. The planned asymmetries common in textiles allowed Antonio the space for play, stepping out of his usual square by square grids and experimenting with alternating directions. In taking inspiration from weaves, Antonio starts to share his cathartic, artistic meditation with our indigenous artists. Patterns documented in the West have historically had a decorative function, but Philippine patterns often embody overlapping struggles — the physical strain of rigid repetition, the desire for artistic validation, and the tension of making a living out of the arts. These struggles closely parallel those of Antonio’s.
It is interesting too that patterns started as attempts to recreate the wild, imperfect logic of nature. The more perfectly an artist painted a pattern, the more they failed at what they set out to do. Eventually, truly capturing the untamed order of nature evolved as a revolt against the precision of machines. I believe Antonio’s patterns follow in this legacy. He makes honest patterns that do not attempt to be machine, but instead, in the tension of perfection and imperfection, celebrate what it is to be human. What else can say more about being human than the repetition of trying. That this never-ending artistic, human struggle is now conceptually shared with our weavers gives it even more weight.
The second half of the pair celebrates a diversity of patterns observed in the world. It is a progression of the previous collage with a tighter curation of materials. The elements, selected now with more time for study, explore how the human psyche perceives art, how bodily patterns expose humans, and how artists, including Antonio, have created patterns themselves. Not only will you find a scan of a previous pattern in the collage, but both the collage and the pattern’s substrates repurpose his past paintings. This collage, and most of his others, shows how Antonio creates from the deconstruction and reconstruction of his own psyche’s patterns.
It might be this bringing together of compounding histories and knowledges, that the collage as a medium is most appreciated for. The collage brings together multiple worlds into yet another new one, melding contexts and knowledges into a single plane. Antonio does exactly this with much more fluidity than the patterns he makes. He intuitively reimagines the intersections of what we could know about art and psychology and, therefore, what we could know about ourselves. In the making of this collage, he expresses “the irreducible heterogeneity of the postmodern condition” with colors and composition that just simply call to him. Side by side with an exercise of constraint, the collage may be the bursting forth of humanity from the conditions that define it. Through his work, Antonio invites an imagined community with common struggles to come together. I invite Antonio to continue exploring the shared narrative between these two artworks with even more intention in future developments of this work.
References:
Collage: The Making of Modern Art (Brandon Taylor, 2004)
Crafting futures: Sustaining handloom weaving in the Philippines (British Council, 2021)
Pattern Design A Book For Students Treating In A Practical Way Of The Anatomy Planning And Evolution Of Repeated Ornament (Day, 1933)
Pieced together: Collage as an artist’s method for interdisciplinary research (Vaughan, 2005)
The Frame and the Mirror: On Collage and the Postmodern (Brockelman, 2001)
The Importance of Pattern in Art (Widewalls, 2016)
Stage 3
Context
Context
The artist progresses from Stage 0 to Stage 2 with a deliberate focus on the context of their work. During this phase, they are encouraged to challenge the possibilities of their work, exploring new potential in material, medium, or form.
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The art critic touches into the broader context of the artist's work, exploring how external factors such as cultural, social, political, and historical influences shape the creation and interpretation of the piece. By examining the artist's environment, personal experiences, and the prevailing ideologies of the time, the critic uncovers deeper layers of meaning within the artwork. This analysis allows for a more comprehensive understanding of how the artist's intentions and the artwork’s reception are intertwined with the world around it, ultimately providing richer insights into its significance.
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Stage 3 Artwork
Patterned Perspectives Study 3
Antonio Pastoriza
Paper, ink, and acrylic on refurbished painting (collage)
Acrylic on refurbished painting (pattern)
11”x8” each
11”x16” diptych
Artist Statement:
To start the study, I began with the pattern painting which is inspired the traditional weaving and tattoo patterns representing mountains. For this study I wanted to do a pattern that had a tighter grouping of layers so see how the contrast between the pattern and the background would change the viewing experience. The collage painting was created with the idea of collecting various images and text that responds to the idea of patterns both made by humans and those from nature. I added layer of paint application in a way that emulates the patterns and their angles from the pattern painting.
The next study and final work will likely have more of a visual contrast while being more alike in terms context. The collage painting will be mostly monochromatic with the aim of emulating a research paper visually as it is a collection of images and references in and of itself. The pattern painting will remain similar, but will experiment further with patterns and maybe the background.
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Stage 3 Text
Work-in-Progress (WIP) Analysis with Contextual Analysis of Patterned Perspectives
Written by Karina Abola
The self is made up of the world it is surrounded by and the world is shaped by these selves. There is a oneness that people, culture, and society share and, for artists, this oneness manifests in the art that they make. In this third iteration of Antonio’s pattern-collage diptych, we are immersed in his artistic struggles, as much as in those of Filipino artists across our history and geography. To keep on creating is Antonio’s biggest aspiration, no doubt shared by generations of manlilikhas whether they’re called artists, designers, crafters, or weavers. But this deceptively simple dream seems impossible today, a result of Philippine art’s entanglement with profit that forced artists to find lives and livelihoods other than art. As such, Antonio finds himself repurposing past work the industry failed to value, using them as substrates for something new. In preparing them for a new pattern or collage, he scrapes at them literally and figuratively, transforming detachment, disappointment, and sometimes dejection, into rebirth. The most important thing is to keep making art, he says. Antonio rebels by simply persisting.
Rebirthing his past into this diptych involved countless intuitive decisions. Artistic intuition is often seen as “almost a dirty word”, but intuition is arguably the unbridled product of an artist’s entire positionality. When that intuition is channeled towards the creation of art, it closes the gap between the contexts and histories residing in an artist with the materiality of what they make. This study continues to be an exploration of humanity and the intuition with which it was made is merely more evidence of what it is to be human. This is especially true for the collage, which, in this iteration, has been brought in direct conversation with the pattern as a deliberate reaction to its rigidity. The collage is, in a way, unrestricted humanity. It continues to explore patterns, whether in nature or in people, that tell us a little bit more about what it is to be alive.
The pattern also continues to be a celebration of being human. Antonio takes inspiration from Park Seo Bo, healing and emptying himself into his work and sharing it in hopes of healing others. Similar to Korean monochrome pattern paintings called Dansaekhwa, the pattern painting heals Antonio through the meditation of painful repetition. Each repetition captures his struggles, imperfections—his humanity—at one moment in time, while inviting viewers to lose themselves in its color, tactility and materiality. The painting now employs a mountain pattern, chanced upon by Antonio while reading about verbally inherited geometry through craft. Once again, he evokes Filipino manlilikhas at large, giving form to the artistic struggle he shares with all kinds of Filipino artists, including weavers.
Altogether, the diptych straddles and challenges boundaries in the course of its evolution. In identifying with the struggles of weavers in their craft, it critiques the definitions of art and artist. In giving space to both rigidity and intuition, it acknowledges the value of both flow and structure. In intersecting painting and psychology, it blurs the lines between art and science. Yet, what remains common is this relentless pursuit of understanding humans. As the diptych compiles then sheds these divisions, we learn more about who we are. And in this collective quest, Antonio offers us himself. His inner world is poignantly embodied in his work, his human struggles that start and end in artmaking, brought into form. As a space that simultaneously breaks and gatekeeps disciplinal bounds, an academic setting would be an ideal space for this work.
Stage 4
Synthesis
The artist, at the final stage of production, must make critical decisions that encapsulate their entire creative journey. This stage is not just about completion, but about reflection—drawing insights from the process that led up to this point. Every experiment, adjustment, and challenge faced in earlier stages influences the choices made now. By looking back on the evolution of their work, the artist ensures that the final piece not only stands as a finished product but also embodies the intentions, revisions, and learnings from the creative process. It becomes a culmination of both vision and experience.
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The art critic engages in a reflective process, examining the developmental stages of the artist's work, including its conceptual evolution and creative process, within the context of the Confluence project. By analyzing the dialogues, critiques, and interactions that have shaped the work, the critic produces a comprehensive synthesis that captures both the essence of the artist's practice and the collaborative journey. This synthesis not only highlights the formal and thematic aspects of the artist's work but also delves into the deeper layers of meaning and intent, offering an insightful narrative that bridges the artist's creative vision with critical interpretation. Through this process, the critic contextualizes the work within the broader framework of contemporary art, while simultaneously foregrounding the unique contributions of the artist and the collaborative dynamics fostered by Confluence.
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Stage 4 Artwork
Becoming Myself, Without Any End (Pattern Painting)
Antonio Pastoriza
Acrylic on refurbished painting (pattern)
30”x24”
If You Go Slowly (Collage Painting)
Antonio Pastoriza
Paper, ink, and acrylic on refurbished painting (collage)
30”x24”
Artist Statement:
This diptych delves into the theme of patterns, both in nature and human creations, and how they shape our experiences.
The pattern painting draws inspiration from Filipino handloom weaving and tattooing patterns symbolizing mountains, emphasizing pattern repetition. The collage painting, designed as a visual research paper, collects images and texts responding to the concept of patterns, blending references from both the human world and nature. By layering paint, I aimed to reflect the angular structures from the pattern painting, reinforcing their interconnectedness.
The two works function both independently and as a cohesive whole, highlighting not only technical refinement but the thematic depth of how patterns are identified, formed, and historically understood.
Artist’s Reflection on the Confluence Journey:
During the initial stages of the Confluence project, my life was in a stage of transition as I was moving which definitely influenced my work (for the worse) as my initial outputs were all over the place since I had a difficult time sitting down to think and work on the project. Since I have a few artworks series I am currently working on, I had the ability to either expand on one of these series for the project or go a completely different direction and the decision making process even from the start was quite difficult. I saw different aspects of different series that could apply well with the project, but was unsure which was the strongest and which I was most interested in pursuing as I knew the project would be months of work.
After a discussion with my partner that included finding connections with my life, my interests, and my art practice we decided it would be best to create a diptych that had one part as a collage painting and the other as a pattern painting. The overarching theme of the diptych is to explore patterns; how they shape our experiences, how they are identified, how they are created in nature, the historical and psychological context surrounding them, and more. Through the various stages and studies, I refined both the techniques used in creating the artworks as well as having them highlight the context and concept. The works are made to both stand as individual works while combining to work together to provide a more complete work.
For the pattern painting, I explored pattern repetition as I was inspired by the Filipino handloom weaving patterns and tattooing representing mountains. The collage painting was created with the idea of collecting various images and text that responds to the idea of patterns both made by humans and those from nature. I added layers of paint in a way that emulates the patterns and their angles from the pattern painting. Further, the collage painting aims to emulate a research paper visually as it is a collection of images and references in and of itself.
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Art Critic’s Reflection on the Confluence Journey:
Confluence’s goal is to offer a demystified presentation of art, not only for the audience but also for the critics. Typically, critics assess artworks at their final stage, but Confluence provides an opportunity to engage with the early stages of art production. How does this involvement from inception to presentation impact a critic’s perspective? How much insight can you offer while still leaving room for readers to make their own discoveries? As the project concludes, share what you have learned about the work and the artist. What kind of art criticism can you offer from this comprehensive process?
I really appreciated the process, demanding as it may have been 😅 Not only did I get to know the art process better, I also got to know my partner quite deeply, especially as his work is a direct reflection of his personal struggles. Knowing the person where art springs from deepens any person’s understanding of art, much more a critic’s. At least for this particular artwork, I feel knowing the artist—his artistic journey, what he’s currently going through, and how all that affected the process—was the most crucial part of understanding the work.
In terms of leaving room for discovery, the nature of Antonio’s work, and perhaps of most abstract art, lends itself well to curiosity and discovery, regardless of what I write. If anything, I may only provide a jumping off point for readers/viewers to start with, that, like this process, allows people to get to know the artist a little bit more.
What I’ve learned from this process is to similarly allow room for discovery for the artist, as much as the viewers. As critics and researchers, we may be compelled to rationalize all artistic decisions, when plainly and simply, there is no rationale. These decisions came from their gut, or their heart, or just their hands—and it doesn’t make the art less valuable. As a critic involved in the development of the artwork, I felt I had to tread this balance often, sharing what I could from literature and culture, while not letting that define the work.
In terms of what criticism I can offer, whether in art, design, or just in culture overall, it may be a kind of criticism that isn’t criticism at all but just a study of people and what they make. I realized my training in qualitative psych research may have helped Antonio process his emotions as he was expressing them through his art. Ultimately, it’s all I hope to achieve—that we understand and care for ourselves and others more through the culture we create. I hope to continue in this vein in whatever form of cultural study I do in the future.
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Stage 4 Text
Synthesis of Antonio’s Diptych Work
Written by Karina Abola
The self is made up of the world it is surrounded by and the world is shaped by these selves. There is a oneness that people, culture, and society share and, for artists, this oneness manifests in the art that they make. In this pattern-collage diptych, we are immersed in Antonio Pastoriza’s artistic struggles, as much as in those of Filipino artists across our history and geography. To keep on creating is Antonio’s biggest aspiration, no doubt shared by generations of manlilikha whether they’re called artists, designers, crafters, or weavers. But this deceptively simple dream seems impossible today, a result of Philippine art’s entanglement with profit that forces artists to find lives and livelihoods other than art. As such, Antonio finds himself repurposing past work the industry failed to value, using them as substrates for something new. In preparing them for a new pattern or collage, he scrapes at them literally and figuratively, transforming detachment, disappointment, and sometimes dejection, into rebirth. The most important thing is to keep making art, he says. Antonio rebels by simply persisting.
Rebirthing his past into this diptych involved countless intuitive decisions. Artistic intuition is often seen as “almost a dirty word”, but intuition is arguably the unbridled product of an artist’s entire positionality. When that intuition is channeled towards the creation of art, it closes the gap between the contexts and histories residing in an artist with the materiality of what they make. This diptych is an exploration of humanity and the intuition with which it was made is merely more evidence of what it is to be human. This is especially true for the collage, which Antonio brings in direct conversation with the pattern as a deliberate reaction to its rigidity. The collage is, in a way, an unrestricted study of humanity—Antonio’s own intuitive research paper washed in light, shadow, and struggle. It explores patterns, whether in nature or in people, that tell us a little bit more about being alive.
The pattern is likewise a celebration of being human. Antonio takes inspiration from artists like Park Seo Bo and Kadar Brock, who find in their art a healing and emptying that is almost spiritual. Similar to Korean monochrome pattern paintings called Dansaekhwa, the pattern painting heals Antonio through the meditation and contemplation of painful repetition. Each repetition captures his struggles, imperfections—his humanity—at one moment in time, while inviting viewers to lose themselves in its color, tactility and materiality. The painting employs a mountain pattern, inspired by the inherited geometries in indigenous weaving and tattoos. He evokes the Filipino manlilikha at large, giving form to the artistic struggle he shares with all kinds of Filipino artists. At this important juncture of his life, Antonio bathes the pattern in clouds of colors, clearing into the light of the collage.
Altogether, the diptych straddles and challenges boundaries in the course of its evolution. In identifying with the struggles of indigenous artists in their craft, it critiques the definitions of art and artist. In giving space to both rigidity and intuition, it acknowledges the value of both flow and structure. In intersecting painting and research, it blurs the lines between art and science. Yet, what remains common is this relentless pursuit of understanding humans. As the diptych compiles then sheds these divisions, we learn more about who we are. And in this collective quest, Antonio offers us himself. His inner world is poignantly embodied in his work, his human struggles that start and end in artmaking, brought into form.