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