CEBU, Philippines - As a follow up to its 19th anniversary show in April, Cebu Artists Inc.'s (CAI) featured exhibition for the following month of May until just recently was not just about the presentation of works, as it also exemplified how art is for everyone; not just for a select few.
Opening on May 7 in the third level of the Ayala Center Cebu's new expansion, the show did not feature a single work made by a member of CAI, as it put the spotlight on a range of paintings and art installations crafted by the different artist-friends that the group has made over the years.
Highlighting works whose aesthetic scopes were anchored on summer's iconic visual cues, the show - entitled "Colors of Summer" - led audiences to the variegated contemporary sights that have captured our local visual artists' fancies - leading viewers to new vistas of reality, steered by the amalgamation of the conservative and the avant garde.
From pieces that were evidently beholden to the balance and techniques of the narrative painting form to works whose process-oriented drives were forged from a careful negotiation between the de facto and the de jure, the show defined how perceptive visual artists are when it comes to capturing beauty in all its forms - indicative of how art can unify the senses of the nurtured and the broken to one unanimously understood score.
As it is often said that there is no such thing as art - only artists, "Colors of Summer" took a proactive role in bringing this axiom to light - without falling into the pedantic pitfalls of pretention.
Opening on May 7 in the third level of the Ayala Center Cebu's new expansion, the show did not feature a single work made by a member of CAI, as it put the spotlight on a range of paintings and art installations crafted by the different artist-friends that the group has made over the years.
Highlighting works whose aesthetic scopes were anchored on summer's iconic visual cues, the show - entitled "Colors of Summer" - led audiences to the variegated contemporary sights that have captured our local visual artists' fancies - leading viewers to new vistas of reality, steered by the amalgamation of the conservative and the avant garde.
From pieces that were evidently beholden to the balance and techniques of the narrative painting form to works whose process-oriented drives were forged from a careful negotiation between the de facto and the de jure, the show defined how perceptive visual artists are when it comes to capturing beauty in all its forms - indicative of how art can unify the senses of the nurtured and the broken to one unanimously understood score.
As it is often said that there is no such thing as art - only artists, "Colors of Summer" took a proactive role in bringing this axiom to light - without falling into the pedantic pitfalls of pretention.