The exhibition presents paintings whose large-scale format further amplifies the monumental quality of the shrouded figures. Imposing and mysterious like religious icons, these figures have basis in the life of the artist. In fact, some of them are portraits (or anti-portraits, if you may) of the artist himself.
Dino Gabito presents new works in his “Shroud” series that constitutes the artist’s abiding figuration.
Titled Someday, the exhibition presents paintings whose large-scale format further amplifies the monumental quality of the shrouded figures. Imposing and mysterious like religious icons, these figures have basis in the life of the artist. In fact, some of them are portraits (or anti-portraits, if you may) of the artist himself who, instead of exposure, has chosen the unadorned quiet and dignity of anonymity.
As alluded to by the title, the theme of the show points at the vision of the artist for the future.
The work “Jr.” is instructive of what kind of man the artist wishes to become: that is, a close approximation of his own father as represented by a chair covered in a blanket. Before, the artist would visit his father in his office and sit in his chair. From there, the artist would observe how considerate and emphatic his father would treat his employees—a behavior that the younger Gabito would regard highly and adopt for himself. Juxtaposed to the chair is a depiction of a lower half of the body, which symbolizes how the artist grounds himself and signifies his humility in relation to the father.
In “If,” Gabito presents four figures which collectively represent a family. Using hierarchical scale, the artist depicts the parents as the two towering figures that enclose the two slightly smaller ones, which are the children. Bordered by a frame, the family members hold the fabric almost the same way, indicating their solidarity with one another. Bound by blood and love, they share similar pursuits and aspirations while sustaining their own sense of self and individuality, as each of them inhabits their own respective shrouds.
Someday affirms that the figures in Gabito’s works are not impersonal entities, but fully-fleshed ones, representative of actual people in his life. While the stories told by these works maintain a measure of mystery, they nonetheless articulate something profoundly intimate and archetypal. In the social media-obsessed world that prioritizes oversharing, Gabito’s paintings serve as an antidote, underscoring the importance of privacy, the comfort of solitude.
-Carlomar Arcangel Daoana
Time & Location
23 Mar to 1 Apr 2022
14-B Ortega St., Addition Hills, San Juan, Philippines 1500