March 9 to April 21, 2001
Curated by Joselina Cruz
A moment unsubscribed, a space unexpounded, Kawayan de Guia’s practice exists as gestures that occupy this space. Being the most instinctive of artworks, gestures do not proceed from the full knowledge of what provoke them, but from the enchantment of illusion and the momentary. This project—framing an artist’s practice and indulging him the freedom to work beyond the confines of the system—allows the viewer to encounter traces of de Guia’s past.
“Our legacy from once-upon-a-time is too rich to discard in the name of progress.” – N.V.M. Gonzales
Earth to Sky attempts to capture through photographic documentation, project studies, initial sketches and toughts written down, the fleetingness of such work. Hundreds of 3R-size photographs, and a sculptural work some of the works featured. Part of the exhibition is also an installation employing mirrors set against a sea of a thousand breathings. This sound piece spills out of the gallery across the country through the radio.
The practice of Kawayan de Guia exists in that space of yet untranslated, and perhaps, even still untranslatable, work—himself distant from theory and unconcerned with acknowledgement of a critique or its reductive power as applied to his work. It is Cixious’ breath, unlimned. I therefore step unto amorphous ground, working my way between discourse and poetry, perhaps not being all too successful, the ground being a fragile site.
Earth to Sky is a project that comes from outside the known gallery circuit of Manila and rises above its very confines. Kawayan de Guia’s practice does not assume easily identifiable definitions caught within the matrix of current art practice and written history. Working outside of the gallery, creating temporary installations that call on the prayer flags of Tibetan Buddhism, flower mandalas, photographic interventions within the city of Baguio, and walks across the mountain country of the North, de Guia’s practice takes on a myriad of expressions.
Earth to Sky attempts to capture, through photographic documentation, project studies, initial sketches and thoughts written down, the fleetingness of such work. Part of the exhibition is an installation employing mirrors set against a sea of a thousand breathings. This sound piece spills out of the gallery across the country through radio.
De Guia’s works are mostly installations using found objects which are gestural in their inception and execution. These are later photographed and documented.
Earth to Sky consists of hundreds of 3R-size photographs, sound installation, and a sculptural work reflected endlessly. Unannounced the sound will interrupt the run of daily life for at least 10 seconds.