Of Tailored Truths and Malleable Forms

Carlo Aranton's Four and Twenty Million Doors
Carlo Aranton’s Four and Twenty Million Doors

Excerpts from the catalogue essay:

“He had felt freed the moment he crossed the border at Juarez, as if he had walked into a different world. Now he was sure: each of us has a secret frontier within him, and that is the most difficult frontier to cross because each of us hopes to find himself alone there, but finds only that he is more than ever in the company of others.”

Carlos Fuentes, The Old Gringo

Questions of being and fate lead artists Aranton, Sicuya and Sta. Juana to an interesting path. Faced with unwieldy queries on existence and being, they take as cues the approaches of hard science in their use of experiments and models. In this act of making sense, they construct viable systems, imagine a more encompassing picture, and create visible forms to represent the divine. These approaches plot the workings of the psyche, the wonders and breadth of imagination, and the resilience of the human spirit. Sta. Juana’s cast altar ensemble of relief sculpture, Sicuya’s puzzle forms, Aranton’s drawings referencing experiments on perception and vision, all embody a keen interest in a language that thrives on trial, conjecture, and truth seeking.

Aranton, Sicuya and Sta. Juana propose a revival of the rudimentary questions of being in a time overwhelmed by short-lived joys, hollow fulfilment, and empty success. They engage the ‘frontier within’ by drawing from their shared interests in both art and science, by their keen engagement with the world as artists and individuals, and through a potent realization of their being-in-this-world. It is an eagerness to cross horizons between disciplinal languages, an interest in engaging methods not necessarily within the ambit of art, a desire to redefine frontiers and introspection that may perhaps redraw these frontiers’ limits.

Works for the exhibition Reality Check will be on view at Tin-Aw Art Gallery until 1st February 2013.


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