LAHID, as in the smearing of paint that upshots sullies on canvas, be it intentional or not, suggests more to its literality as stroked by artist Dante Palmes. Exhibited at DOS LAHID are his recentpaddlings in the dualism and dichotomy of the figurative and the abstract, areas that he long delved in since obtaining a Fine Arts degree from the Philippine Women’s University (PWU) in 1992.
His latest figurative works flaunt his yet another hurdle in style amid the places he has been to: his natural discernment or paglahid of the specificity of the changing society. Those familiar to his art will find no surprise to his paintings of vibrantly colored mud-brick dwellings in an agrarian village in the Middle East, of veiled women, and of strolling monks in Thailand. Also were his stints on farm-life subjects that are firmly predictive of his latest linkage to the International Rice Research Institute (IRRI).
However, lahid would be his continuous fondness to strokes or pahid by palette knife. The present textures, ostensibly as analytical as from a post-expressionist work, confirm his progressing faculty of the style. His choice of colors is as special as how he prevail it: “I like my works to be colorful.”
For his nonrepresentational works, described are their metaphysical dualisms from the former. Being which heterogeneously different is his method of extricating the depth of textures from the depth of colors. The results are two interacting layers impulsively playing with one’s sight. Albeit his teasing of warm colors, it is almost always his complementary action to mix up hues that will ratify his colorful benchmark.
His composition shifts from deliberative to accidental, then shifts from being accidental to deliberative—as if applying the duality property of algebra’s lattice theory: two operations or concepts are interchangeable, whereby a dual formulation is achieved.
Such template was practically accepted positively, which had him to collect various accolades from national art competitions: from Pagsanjan Bangkero Festival National Painting Competition, Fernando Amorsolo Mentor and Apprentice National Art Competition, to GSIS Art Competition. Equally interesting is his unceasing wallowing in the arts: he had gone on to participate in over 60 group exhibitions and was able to mount six solo exhibitions. DOS LAHID counts as his third solo exhibition in the country and the sixth all-in-all.
His paddles are far from resting on its laurel, and DOS LAHID may favorably reveal which dichotomy of the arts he will incite more. Such move will be pretty exciting to see. --Marvin Angelo Rafols Oloris
His latest figurative works flaunt his yet another hurdle in style amid the places he has been to: his natural discernment or paglahid of the specificity of the changing society. Those familiar to his art will find no surprise to his paintings of vibrantly colored mud-brick dwellings in an agrarian village in the Middle East, of veiled women, and of strolling monks in Thailand. Also were his stints on farm-life subjects that are firmly predictive of his latest linkage to the International Rice Research Institute (IRRI).
However, lahid would be his continuous fondness to strokes or pahid by palette knife. The present textures, ostensibly as analytical as from a post-expressionist work, confirm his progressing faculty of the style. His choice of colors is as special as how he prevail it: “I like my works to be colorful.”
For his nonrepresentational works, described are their metaphysical dualisms from the former. Being which heterogeneously different is his method of extricating the depth of textures from the depth of colors. The results are two interacting layers impulsively playing with one’s sight. Albeit his teasing of warm colors, it is almost always his complementary action to mix up hues that will ratify his colorful benchmark.
His composition shifts from deliberative to accidental, then shifts from being accidental to deliberative—as if applying the duality property of algebra’s lattice theory: two operations or concepts are interchangeable, whereby a dual formulation is achieved.
Such template was practically accepted positively, which had him to collect various accolades from national art competitions: from Pagsanjan Bangkero Festival National Painting Competition, Fernando Amorsolo Mentor and Apprentice National Art Competition, to GSIS Art Competition. Equally interesting is his unceasing wallowing in the arts: he had gone on to participate in over 60 group exhibitions and was able to mount six solo exhibitions. DOS LAHID counts as his third solo exhibition in the country and the sixth all-in-all.
His paddles are far from resting on its laurel, and DOS LAHID may favorably reveal which dichotomy of the arts he will incite more. Such move will be pretty exciting to see. --Marvin Angelo Rafols Oloris
The exhibition will run from 24 July to 24 August 2012 at the Sining Makiling Art Gallery, Dioscoro L. Umali Hall, University of the Philippines Los Baños, College, Los Baños, Laguna. The gallery is open on weekdays, 8:00 AM to 5:00 PM.
