STOP OVER: Studio Visit no. 3
Stop Over: Virtual Studio Visit no. 3
With Jazel Kristin and Fuyuka Shindo
Moderated by Zeus Bascon
September 25 (Sat) at 2:00 PM (Philippines) | Zoom
Stop Over: Virtual Studio VisitsAugust-November 2021“Stop Over” facilitates casual conversations to learn artists’ and practitioners’ daily experiences and practices in relation to their specific locations and situations – home, studio and neighborhood. “Stop Over” convenes individuals and groups from physically distant places, and it hopes to be a site to pause, to question, to re-fresh and to-energize ourselves by imagining relationships/links/paths that we might not see otherwise.
Initiated by Load na Dito Supported by The Japan Foundation, Manila, TOGETHER WE DESIGN and Textile Art Museum.Ph
Jazel Kristin’s sensibility as a documentary filmmaker pervades her cross-disciplinary practice that encompasses collage, photography, video, sound, and performance. As alternative repositories of the keepsakes she collects throughout her journeys, she sets the scene for these mementos to unfold, unravel, and illumine—all in directorial fashion. Whether as vivisections of her most pervasive proclivities or as cartographic abstractions of her motions and emotions, her intermedia art ultimately serves as the parallel universe wherein she navigates through ambiguity, complexity, and memory at her own pace and according to her own terms. Her work has been exhibited extensively in the Philippines’ major galleries and platforms, and has been showcased in exhibitions across Europe and Asia. She has completed residencies with Cite Internationale des Arts in Paris, France by the Mairie de Paris (2010), and in Santorini & Athens, Greece (2015) and in CASA San Miguel in Zambales, Philippines (2013, 2017, 2019 & 2021).
T R A C K S
T R A C K S – Zeus Bascon / Likha Camacho / Jazel Kristin / Hacla + Pabellano / Mark Salvatus / Gerome Soriano / Jo Tanierla / Ev Yu
QUARANTHINGININGININGS – Artworks created in quarantine. During lockdown, with no means of acquiring materials, we artists make do with what we have. I revisited my old playntings and unearthed photo scraps I’ve kept over the years from past artworks & exhibitions. We ask: Is art essential in this time of pandemic? This, I tried to answer in the process of cutting up old artworks and creating puzzle pieces, then putting them together to create a whole new narrative. (Jazel Kristin)
T R A C K S
Blanc gallery
Dec. 5-30, 2020
Open everyday (except 24 & 25) 11am -7:30pm
The Possibility of Variation Within the Repetition
The Possibility of Variation Within the Repetition (Quaranthingininginings Series)
20 x 12 inches (50.8 x 30.48 cm)
Acrylic & Watercolor Playnting on board (with grommet)
2020
RAFT DRAFT
Raft Draft (Quaranthingininginings Series)
48 x 48 inches (121.92 x 121.92 cm)
Photo Scraps Collage on Acid Free Paper
2020
During lockdown, with no means of acquiring materials, we artists make do with what we have. Diving into my stuff, I unearthed photo scraps I’ve kept over the years from past artworks and exhibitions. These were the ones that were cut out, deemed worthless – rubbish. I held onto them, thinking I might use them someday. That someday is now.
To steady myself during this turbulent time, I sorted piles and piles of photo scraps by color. I let each piece be, not altering their shape. I found every scrap odd and special. Slowly the raft drafts (photo collages) were built, perfectly imperfect, enough to keep me afloat during this rough time.
In this time of a pandemic, do we sink or swim? As artists, we float on.
Quaranthinginingining Playntings
(Quaranthingininginings Series)
12 x 12 inches (30.48 x 30.48 cm)
Watercolor & Acrylic Playntings with Photo Scrap Cut-outs on Acid Free Paper
2020
QUARANTHINGININGININGS
Quaranthingininginings
6 x 4 inches (15.24 x 10.16 cm)
Acrylic Emulsion, Photo Scraps, Ribbons, Toys, Keys, Anting-antings
2020
DECONSTRUCTING MYTHS
While in quarantine, I revisited my old playntings (play paintings)– mythologies created and now confronted by way of deconstruction. These playnting-collages are my way of telling my present truth.
Each painting tells its own story–both real or imagined, or somewhere in between. The stories we tell ourselves and make up along the way become truths with the passage of time.
Deconstructing Myths is an attempt of retelling stories – 9 myths (playntings) reconstructed into 15 new possibilities.
DECONSTRUCTING MYTHS 3-92 (Quaranthingininginings Series)
12 x 12 inches (30.48 x 30.48 cm)
Acrylic & Watercolor playnting cut-outs on Acid Free Paper
2020
PASTELS – Deconstructing Myths (Quaranthingininginings Series)
Size Variable (Set of 6)
Acrylic and Watercolor Playnting Collage Cut-outs
2020
I WAS HERE
Outlines of humanity, soul imprints, empty shapes, forms yet formless.
A glimpse of our possible future –
a world without us in it.
JAZEL KRISTIN 2020
Medium: Magazine pages
Created in quarantine
THE LAST SUPPER
I AM MEANT TO BE HERE, I AM WHERE I SHOULD BE
PAIN IS NOT ALWAYS SUFFERING
MU
EMPTY YET FULL
THIS IS THE WHOLE UNIVERSE
TATHAGATHA (Just As It Is)
* Photo Collage on plastic plate / 13 inches (dimension) / “Empty yet Full” 10.7 inches (dimension)
SAVOR THE SUCHNESS
EVER AT PLAY
LET GO (the EGO)
* Photo Collage and Watercolor/Acrylic on acid free paper / 13 x 13 inches
All Rights Reserved 2018
JAZEL KRISTIN went on a 40-day trip to Bhutan, Laos, Myanmar and Thailand and used images from her journey to create the collages for The Last Supper. For her, travel and food are important aspects of her life. Taking photos of her food helps her remember the stories and feelings of eating in new places. Her photos are base materials for her collages continued from exhibitions in France in 2010, Philippines in 2010, Korea in 2017, and in the Philippines and Singapore in 2018.
RESETTING THE CLOCK – Cultural Center of the Philippines
Resetting the Clock is an exhibition that sets out to converge various artists who subvert the traditional presentation of the medium and tackle photography in a linguistic manner or vice versa. It’s grounded on scientist Jared Diamond’s study of human behavior that have animal origins. He coined the term “resetting the clock,” which circulated as an explanation of how cultures experience linguistic extinction. This extinction resets time into a new cycle to make way for the emergence of a different set of languages. These endings create variations influenced by forces from culture, geography or social dynamics. To create an interconnection to the emergence of photography’s new cycle and language, the artists were chosen to stand as markers in the local photo-based landscape, as they display a diversity of output, process, and theoretical perspective. The produced works of art interpret language as a varied form of communication influenced by cultural, societal, and familial upbringing. This collection serves as interlocutor of signs of the new influences in the constant shifting of language and/or viewing of image, such as emergent subcultures, gender expansion, topographies or class consciousness. The exhibition points out the transcendence of the photograph from being captured image of what exists into a stand-alone bearer of meaning with its own universe. As firsthand image-makers, the artists were tasked to draw on their intrinsic ability to manipulate what they see into being imageries of what they are, in the context of what they may mean. The transdisciplinal mode of displaying the image highlights the medium’s ephemeral nature and fluctuating role as source of information.
Mark Wyse said that the discourse on the discipline has shifted from “trying to understand the world into trying to understand ourselves.” What is evident in the exhibition is probably not so much about a discussion of the photograph as a form of language but instead of its usage. The articulations that emerged from the works tackle the self and how our interactions with images become tools for analysis, therefore of dealing, of the real. When theorist and philosopher Roland Barthes wrote his book about photography titled “Camera Lucida,” he did not only reflect on the form, but he also wrote it as a eulogy to his mother. He talked about the photograph as “the desired object, the beloved body.” He explained that it is “love… extreme love” that allows him to “erase the weight of the image” to make it “invisible,” to create a trail for him to view not the photograph but the object of his desire, his desire’s beloved body. In the same vein, here the artists stripped down the image and handled it with tenderness and thoughtfulness. To reset the clock, they had to extinguish the weight that burdens it and let it flow to its new cycle.
Con Cabrera
REMINDER
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