Prom Di North III - White Walls Gallery

Exhibition

Online

Loft Gallery

January 15, 2021

The Prom Di North moniker celebrates potential within the community of young Bulakenyo artists. Hailing literally “from the north”, this group show aims to showcase budding Fine arts students from Bulacan State University, coming together to hold the promise of one day developing their artistry beyond everyone’s expectations. Notable participants from past installments of this exhibition include Tony Mercado, Ronald Rodriguez, Yao Sampana, Aleah Angeles, Lawrence Cervantes, and much more.

To celebrate the new year, White Walls Gallery would like to present the third installment of this on-going tradition aptly titled “Prom Di North III”. As mentored by established artist Yao Sampana, the group show highlights works from a select few of the artist’s mentees, ranging from traditional illustrations to mixed media sculptures. Come join us as we welcome these fresh new artists “prom di north”!

As we enter a new year, it can’t be helped that certain traumas and feelings muster up the strength to still affect us to this day. Be it past experiences, present predicaments or future anxieties, these invisible ghosts lie insidious in the dark, holding and waiting for us to succumb to them.

For his fifth solo exhibition, artist Yao Sampana presents us with “Behind the Shadows”, a somber exposition of portraits unveiling the abstract hauntings that plague us in our everyday. The artist brandishes his signature use of bluish-hued figures over dark backgrounds and red curtains to personify one’s struggles, providing for stark contrasts between saturated and desaturated tones, a power play of sorts towards the grim subject matter and the humanity behind coping with them. Inspired by his personal journey in confronting the invisible demons that hamper his creative ventures, the show aims to recognize, materialize and accept these negativities as part of one’s growth. Yao Sampana’s drive to overcome what haunts him is evident in his use of grasping hands and contorted figures; his hyperrealist technique evident as it provides for visceral images of despair and ultimately, acceptance.