Art Brussels 2024

April 25 - 28, 2024

Art Brussels 2024

April 25 - 28, 2024

Sanga-sanga / Ramified 

 

The Drawing Room Contemporary Art presents a showcase of works by its represented artists Vermont Coronel Jr. and Troy Ignacio. The artists are based and create works about Quezon City and Manila City respectively. The two dynamically different cities and contexts in the capital region of the Philippines have subtle and nuanced similarities. These are methodically observed and visually illustrated by Coronel and Ignacio through the use of watercolor and aerosol applied on paper. The Brutalist architecture as remnants of the seventies and eighties period that physically mark socio-political turmoil in the Philippines are softened and balanced by the constant presence of life forms as depicted by endemic plants that thrive even in concrete walls and pavements. The fragility of the artists’ material is evident.


Sanga-sanga is a term in Filipino that refers to a branching out, a complex growth and development. Visually, sanga-sanga appears in the works presented. Coronel’s street art origin of creating stencils is revealed through the meticulous cutting and handling of paper used as matrices for his layered works. From the use of stencils as negative plates to reveal what is left as the positive image, he reverses the process so that the stencils become the positive plates to be piled up and make the images visible. For him, this technique foregrounds the bridges making them more prominent, intentional, and critical. The highly ramified visuals he creates become more distinctive of the style Coronel was able to develop throughout the years. For Ignacio, it is control and skill in handling the medium of watercolor that makes for optical elegance and vulnerability. The thin and circuitous pathways become directional in navigating the various terrains that make up the meta nature of the narratives he presents. He feels that the use of watercolor to structure and reconstruct texture is inherent to the characteristics of his previous collages and lends the aesthetics we see in the newer works. Ignacio’s state of being in the present becomes the prerequisite to his evolution and artistic growth. 

 

The visual conversations between the two artists and series of works become sanga-sangang mga kwento or ramified chronicles as illustrated by the thematics, materiality, and contexts. The artists assume a narrator’s position as they craft experiences of beginnings and endings, chaos and order, rigidity and tenderness, hesitations and moving onwards.