ANSWERS WHERE POETRY SHOULD NOT EXIST
Notes by Dave Lock
The profundity of Jonathan Olazo’s investigations into the issues of art-making and its meaning advances one step forward in “Answers where poetry should not exist”. According to the artist, his recent anthology of works do not simply explore the concept of abstraction itself, but also the different varieties of textures that constantly permeate his new set of paintings. Olazo is regularly known for his bold, contemporary experimentations with non-representational art and its genre’s versatility with a diverse array of available existing elements. The artist believes that the detachment to worry from composition creates a certain faculty of enlightenment and crafts a feeling of rawness and naturality, in which art is exulted in its truest, most unadulterated form. And it’s through this reason that sometimes, composition acts as a constraining mathematical cage, putting the aesthetic value of one’s work above artistic concept and significance. This probably is also the main reason why abstract art has often been viewed as the end point of art, and sometimes a functional or decorative arrangement. It’s the primary reason why he keeps on pushing abstraction to its limitations, in both technicality and concept, in order to preserve its true essence, if not, just to keep it untainted from the raunchy commercialist exploitations of a visual world.
“These works provide an exploration into the different casts of personalities breathing inside me” the artist says. Perhaps, these painted images might evoke a specific sense of nostalgia, because some of the works here go way back into his older attempts in handling the genre. Basically, this set is a reinvention of his earlier works on a fresher perspective, offering his audience a wide range of surfaces at hand. “These are models for thinking, it doesn’t necessarily have to induce emotion” Olazo explains. Indeed, it is always up to the viewer because for a reason, abstract paintings are abstracts because they are open to an extensive range of interpretations and definitions. Sometimes, the presence of a figure creates a sturdier, contextual representation in concept, at a point that it further seals the investigation in searching for the painting’s meaning. The artist’s masterpieces, perhaps, creates an anti-thesis of this notion, because on the contrary, his works challenges the restrictions of form and content, positioning his audience into a deeper trance-like condition of cerebral activity and philosophical questioning.
“Abstract art can be something else than just a beautiful object on a living room wall. It can be symbolic hopes and dreams, and our anxieties.” Jonathan Olazo quotes to end the interview.
"Answers where poetry should not exist" opens at 6:30 p.m. on November 26, 2009 at Whitebox Studio, Stall 59, Cubao Expo, Araneta Center, Cubao, Quezon City, Philippines. The show runs until December 9. For inquiries, please call 437 3839 or email whitebox_studio@yahoo.com
Notes by Dave Lock
The profundity of Jonathan Olazo’s investigations into the issues of art-making and its meaning advances one step forward in “Answers where poetry should not exist”. According to the artist, his recent anthology of works do not simply explore the concept of abstraction itself, but also the different varieties of textures that constantly permeate his new set of paintings. Olazo is regularly known for his bold, contemporary experimentations with non-representational art and its genre’s versatility with a diverse array of available existing elements. The artist believes that the detachment to worry from composition creates a certain faculty of enlightenment and crafts a feeling of rawness and naturality, in which art is exulted in its truest, most unadulterated form. And it’s through this reason that sometimes, composition acts as a constraining mathematical cage, putting the aesthetic value of one’s work above artistic concept and significance. This probably is also the main reason why abstract art has often been viewed as the end point of art, and sometimes a functional or decorative arrangement. It’s the primary reason why he keeps on pushing abstraction to its limitations, in both technicality and concept, in order to preserve its true essence, if not, just to keep it untainted from the raunchy commercialist exploitations of a visual world.
“These works provide an exploration into the different casts of personalities breathing inside me” the artist says. Perhaps, these painted images might evoke a specific sense of nostalgia, because some of the works here go way back into his older attempts in handling the genre. Basically, this set is a reinvention of his earlier works on a fresher perspective, offering his audience a wide range of surfaces at hand. “These are models for thinking, it doesn’t necessarily have to induce emotion” Olazo explains. Indeed, it is always up to the viewer because for a reason, abstract paintings are abstracts because they are open to an extensive range of interpretations and definitions. Sometimes, the presence of a figure creates a sturdier, contextual representation in concept, at a point that it further seals the investigation in searching for the painting’s meaning. The artist’s masterpieces, perhaps, creates an anti-thesis of this notion, because on the contrary, his works challenges the restrictions of form and content, positioning his audience into a deeper trance-like condition of cerebral activity and philosophical questioning.
“Abstract art can be something else than just a beautiful object on a living room wall. It can be symbolic hopes and dreams, and our anxieties.” Jonathan Olazo quotes to end the interview.
"Answers where poetry should not exist" opens at 6:30 p.m. on November 26, 2009 at Whitebox Studio, Stall 59, Cubao Expo, Araneta Center, Cubao, Quezon City, Philippines. The show runs until December 9. For inquiries, please call 437 3839 or email whitebox_studio@yahoo.com
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