In the idealized worlds of emerging artists Zuh Dai and Ron Mariñas we never feel the passing of time.
What do you get when two best buddies collaborate on an exhibition? Either mayhem or a wonderful realization of a deep, lasting friendship.
For pals Ron Mariñas and Zuh Dai, the initial idea of working towards the common goal of a duo exhibit came so spontaneously—and serendipitously. They hit on the very bond they shared as the conceptual foundation for the exhibit, resulting in a wonderful amalgamation of styles, ideas, and materials.
Tambay, Toma, Tropa was the eventual title of their joint exhibit, and what a fitting description of the hilarious, hectic, and probably delirious times that they, together with the other members of their squad, staggered through in this dizzying capital of Metro Manila.
The vagaries of memory
Zuh Dai, a Boholana with an architectural background, isn’t content with the strict two-dimensional planes available as a standard to artists, and so she proceeds to warp her acrylic plexiglass canvasses into various shapes. No two shapes are alike; each painting’s ultimate form really depends on her whim at that moment. This, after she has already lovingly rendered her friends (and herself) into identifiable faces and forms, carefully applying layers of acrylic paint to bring them to a decent semblance of their likenesses.
For that initial painting phase, Zuh Dai referred to pictures found on her phone, selfies taken at various street corners and dark passageways. What may look like evening frivolities were either just enticingly ahead or safely hurtled through behind, depending. But recognizability (both of cast and locale) isn’t really the point here, for after satisfying herself with her “portraiture,“ she then proceeded to apply heat to various points of the material. The painting flexes, buckles and contorts itself in protest over the treatment. The result: a distinctive deformity, a misshapen identity.
These contorted pieces are then the artworks offered by Zuh Dai to the audience—a collection of memories with her friends, but remembrance already manipulated by time, the vagaries of memory, and perhaps, as intimated in the title, the effects of booze. Reality has been consciously altered.
This gang has to boogie
In contrast, UST Fine Arts graduate Ron Mariñas doesn’t resort to half-remembered memories to visualize the tropa. Instead, he relies on the paradox of high fashion and kanto reality to bring forth a counterpart clash of social classes.
Luxe labels, jewelry, and coiffures appeal to his generation indeed, but how’s a party animal to party when the transportation system is pathetic?
Not to worry. This will just take a minute, and perhaps to some, a little swallowing of pride. It’s just a nonchalant wave at the passing public jeepney, or a swipe on that motorcycle app, because this gang has got to boogie! Who has time to feel embarrassed when 99% of the population is pretty much in the same quandary?
Faux fur coats, stilettos, and sumptuous brocade coats adorn the party-goers, and bundled with dispatch onto waiting conveyances. Manila’s it crowd, watch out!
But parties have to end, as we all know. If, at the end of the day, the entire party budget is blown, there’s always balut by the wayside to fortify the flagging spirits.
Mariñas brings a gleeful fashion foppishness to the clubs, and we’re all mesmerized. His brighter palette smeared among the substantially bigger canvasses he chooses for this exhibit offers a delectable contrast to Zuh Dai’s darker, tinier pieces, which make up for their punier size by doubling themselves in number.
We’re somehow reminded of large galactic constellations trailed by dark moons, or vibrant birds of prey swarmed by warbling native sparrows. Disparity in size and styles notwithstanding, the face-off between our two protagonists somehow works, and the audience is allowed to appreciate both temperaments in this offering.
Tambay, Toma, Tropa is, at the end of the day, a sentimental journey by the best of chums. In the idealized worlds of emerging artists Zuh Dai and Ron Mariñas, who are still cutting their teeth at Manila’s fickle gallery scene, we never feel the passing of time, although we are warned that we might suddenly wake up to older, more sober versions of ourselves.
We wonder at where time went, and then we only have fragments of memories to hold on to. But these memories are engraved into acrylic glass and rough canvas, spotlit by bright flashbacks, interspersed with alcohol blackouts. Those moments of glee, insane pranks, shallow jokes, inane quips, and scraps of loving moments, are brushed on to these works, and made lovingly indelible.
Tambay, Toma, Tropa was exhibited at Gallery.Sort Of in Fairview Park, Quezon City.
