EGHAI ROXAS as a youth in the 1970’s had engrossed himself in the clean figuration of Social Realism, and as a student in the University of the Philippines College of Fine Arts he had as mentors such prominent abstractionists as Jose Joya, Alfredo Liongoren (early exponent of figurative-abstract blend), Nestor Vinluan, Constancio Bernardo (abstraction pioneer). Such amalgamation of polarities springs naturally from Roxas' artistic progression. Roxas has held a series of exhibits in Vienna and Essen. He received the Jurors' Choice at the 1994 Philip Morris Philippine Art Awards, and won for nonrepresentational painting at the 1997 Art Association of the Philippines competition.
Roxas’ signature floating element and textured abstraction are set in a quasi-abstract world where unidentified objects float in space. They situate in a visual space that could be a landscape, a seascape, or outer space. Roxas' technique consists of layering of various textures and embellishing with gestural strokes. Such is the faultless nuptial of the representational and the nonrepresentational in art - because these free-floating forms are really figurative that even have shadows, and the graphic field observably is abstracted. The peculiar yet pertinent pairing results in what appears to be Surrealism that could also be Zen.
Roxas’ signature floating element and textured abstraction are set in a quasi-abstract world where unidentified objects float in space. They situate in a visual space that could be a landscape, a seascape, or outer space. Roxas' technique consists of layering of various textures and embellishing with gestural strokes. Such is the faultless nuptial of the representational and the nonrepresentational in art - because these free-floating forms are really figurative that even have shadows, and the graphic field observably is abstracted. The peculiar yet pertinent pairing results in what appears to be Surrealism that could also be Zen.
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