Rediscovering realism

CEBU, Philippines- In the ever-expanding lexicon of artistic tenses and jargons, "realism" is the most basic of creative themes and styles - identified as the foundation that opens artists and audiences to the divergent byways and access roads of the visual arts space.

Often banded with the terms "representational," "narrative painting" or "portraiture," the style is entwined with the virtues and values of masterful painting or illustration techniques - given that its ins and outs are bordered by the "capture what is seen as it is seen" principle in visual art.

Here in Cebu, the style continues to gain the accolades of art lovers of all ages, a status which it congruently shares with the metro's revue of contemporary-themed artpieces - artpieces whose creative intonations are brought to form by realism's younger siblings; cubism, neo-expressionism, fauvism, abstract expressionism and the like.

This ambivalent penchant for realism and its contemporary counterparts has made Cebu's visual arts landscape distinct and unique, with the disciples of the "classic" and "forward-thinking" styles constantly keen on finding the poetic wealth that is hidden in ordinary everyday scenes - something which "Realismo: A League Front-Runner Series" doesn't turn a blind eye to.

Currently the featured exhibition of Cebu's Qube Gallery, “Realismo” fetes a range of works by artists Gary Carabio, Efren Enolva, Jun Impas, SYM Mendoza, Emar Lacorte, Mariano Vidal and Orley Ypon.

With each of the show's exhibiting artists keen on their utilization of space and fine control of the brush, a number of “Realismo's” showcased works gives dimension to the chiaroscuro technique (an Italian painting technique that dates back to the Renaissance period) - evocative of the simultaneous ironies and the conflated disquiets visual artists constantly deal with in the creation of works.

On display in the gallery until November 26, the show's overall presentation essentially nods to the Cebuano artist's unwavering passion in exploring the provisions of art's sociological functions - framing moments of history within the boundaries of linen canvas or acid-free paper.

To certain extent, the exhibit invites audiences to ask just where Cebu's visual arts scene is going to at this point in time - raising the question if art should transcend its influences, or if it should simply reference its being by existing, thereby transcending the ruins of the past. (FREEMAN)