Squares and Quadrilaterals

1.1
Squares and Quadrilaterals. A title loosely derived from Malevich’s remark concerning The Black Square, or what he originally named–because of its imperfectness–Quadrilateral.

My intention for this show is to deprive the works against culture and tradition, for them to become far-removed from a known reality. And by doing so, we can establish a space where we can freely assimilate the paintings without referring to anything besides our own
volition.

1.2
These objects are square and quadrilateral in shape. And you, the person who is looking, could interpret them in your own terms. The works are here to stand by themselves, to articulate their own purpose/s through their form, materiality, and the space they occupy.

2.1
The grid, perhaps the greatest apparatus invented, though sometimes undervalued (since it has deeply integrated itself in our daily life), paved way to the rapid development of infrastructures, it transformed backwoods into cities; it thrusted machineries into a continuum of self-enhancement, and, aided industrialization to further expand globally, birthing a consumer culture, which eventually lead to a massive widespread of alienation, that sometimes, we may also feel when confronted by an unfamiliar commodity, like art for instance.

2.2
Materiality is as important as the form. We tend to embed certain connotations when it comes to material. In this case, graphite and charcoal are placed side by side to latex and acrylic. Two pairs of substance bearing contrasting qualities are fixed in a singular plane, the former could be associated with the organic and medieval, while the latter, synthetic and industrial.

3
Begin from the vantage point of zero.