JOEY COBCOBO – Manila Bus series from “8 Printmakers” at Avellana Art Gallery
Cobcobo conceived Manila Bus as a way to traverse across the boundaries that mark his life and his art. Yet each of these one-of-a kind prints sparks immediate interest even without the side stories. These are summations of indigenous practice and art school training, with the insistence of a more intuitive approach. Just as remarkable, they may be regarded as unassuming achievements in printmaking, serving to underscore both its resonant and sculptural qualities, while offering a graphic order of narratives. Like a typical Pinoy kuwento, this is a happy collision of fictions and actual occurrences, structured by a consistent devotion to method.
Then again, for Cobcobo method is another chapter in the narrative. The story of these makings is just as fearlessly put on view. The woodcut is regarded along with the carved wood objects as with the matrices of elements that aided the shaping of ideas.
It is a negation of hierarchies: an irreverence that translates into a pious order of craft, material and sensibility. Cobcobo manages to accomplish a sophisticated stance within these realms without the need for posturing.
Notes by Karen Ocampo Flores
Cobcobo conceived Manila Bus as a way to traverse across the boundaries that mark his life and his art. Yet each of these one-of-a kind prints sparks immediate interest even without the side stories. These are summations of indigenous practice and art school training, with the insistence of a more intuitive approach. Just as remarkable, they may be regarded as unassuming achievements in printmaking, serving to underscore both its resonant and sculptural qualities, while offering a graphic order of narratives. Like a typical Pinoy kuwento, this is a happy collision of fictions and actual occurrences, structured by a consistent devotion to method.
Then again, for Cobcobo method is another chapter in the narrative. The story of these makings is just as fearlessly put on view. The woodcut is regarded along with the carved wood objects as with the matrices of elements that aided the shaping of ideas.
It is a negation of hierarchies: an irreverence that translates into a pious order of craft, material and sensibility. Cobcobo manages to accomplish a sophisticated stance within these realms without the need for posturing.
Notes by Karen Ocampo Flores
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