JAYSON OLIVERIA : After This, Everything You Do Is Wrong opens 27 August at Pablo Fort


PABLO THE FORT 27 Aug – 10 Oct

After This, Everything You Do Is Wrong

The irresistible forces of failure and the fear of bad luck are turned into paintings that are dumb at first glance but brilliant the more we keep looking. For instance, an anime-style painting of a male head with a huge erection for a hand, superimposed with varied patches of color suggesting a variety of vaginas, may demonstrate the difference between figuration (the phallus) and abstraction (the pussies).

Figuration gives us recognizable elements and signs that we can decode, while abstraction turns its back on us and blocks our view to prevent interpretation and resist narrative. Paradoxically, abstraction annihilates illusions and obliterates distractions, while figuration can mystify and delude. We can observe the hostility and intercourse between figuration and abstraction in the painting of a skunk giving a pink flower to a crocodile wearing a red painter’s hat and snacking on a fishbone. The crocodile rolls its eyes and looks jaded and world-weary, while the skunk seems hopeful and giddy, naive and oblivious of the crocodile’s disdain. A yellow butterfly flutters behind the crocodile. Below, a rat in blue shorts and leather shoes, hands in pockets looking bored and burned-out, is turned towards a little chick looking away in dismay, wearing similar leather shoes but is otherwise naked. An awkward tension seems to exist between the two but exactly what is happening cannot be determined since the image is upside down and painted over with various shapes of different colors, almost completely obstructing our view of the scene. What is clear is the text that reads, “Since I gave up hope I feel much better.”

The shallow and the deep are both apparent on the surface of the paintings. The picture of a monkey with hair shaved on parts of its body and pubic area, holding up an impossible triangle constructed out of poo, is evocative of Homo erectus’ discovery of fire – a turning point in human evolution. But the triangular turd is a discovery that we don’t know what to make of, whether it is useless or valuable. Though the act is a great leap in thought and imagination, it leaves us and the monkey none the wiser.

In another, cartoon-like picture, a naked woman holding a giant pair of scissors waiting for the peeper to poke his pecker through the peephole on a fence may be seen as a comment on the act of looking at art, and brings to mind Marcel Duchamp’s final opus, Étant donnés (roughly translated as Given). In this case, the naked female body is on the same side as the onlooker and instead of a gas lamp in her hand illuminating the way, she holds a pair of scissors that threaten to put the light out of the candle shining and towering on the other side, which she does not see.

As we can see, these paintings are devoted to the traditions of modern art and make use of familiar avant-garde elements such as the grid, the maze, and the brick wall. The grid is found in several of the paintings such as one that plays with surrealism where a hand crushes a beer can as if in triumph, muscles flexing and biceps bulging. Pine trees grow on the biceps, which could also be seen as a hill. Hovering above is an eyeball that could also be a full moon. In the center is an owl made of shells and below is a hospital urinal for patients who find it impossible to get out of bed. The images get out of the grid and do not stay behind the lines.

While multiple layers are commonly piled on the surface, the pictures go against complexity. One painting is initially of a classic motivational poster of a small kitten hanging on to a tree branch coupled with the catchphrase, “Hang in there baby.” This popular relic of the 1970s is used as the underpainting, layered over and almost completely obscured by an image of two prisoners hanging in chains wearing only tattered shorts. The prisoner on the right of the kitten seems horny and amused as he inserts his free foot down the pants of his companion, while the other guy is stunned and looks away, yet also somehow pleased to be preoccupied. His legs are splayed and he feels the pleasure yet feels embarrassed that he is pleasured. The naughty one doing the footsie is clean-looking and looks like a newbie prisoner, while the helpless guy being stimulated has overgrown facial hair and a bloated belly, and appears to have been hanging there for a while. This image is further painted over with an enlarged version of a shrunken head, a novelty item inspired by the headhunting Jivaro tribe of South America, famous for their practice of shrinking and preserving human heads taken in battle as a trophy. The hunted heads are shrunk to the size of a large orange and sewn along the lips. The souvenir version is attached to a string to be hung in the home or car. Beneath the shrunken head is a singing fish, a popular kitschy object that turns its head towards the spectator and sings kitschy cover songs when turned on. It is mounted on a plaque and typically hung on the wall like a taxidermy trophy. These layered images, evidently, have something to do with “hanging” and may refer to the hanging of paintings or pictures.

Paintings defy analysis and change meaning or evolve in idiocy at different times and different states. The more we look the more we know, and the more we know the more we don’t know. We know the look of losers and the picture of success. These pictures are successful in displeasing our sense of beauty, and raise philosophical questions that kill the buzz of glamour and glory. How do we solve the circular maze of art making and go beyond the dead ends of imagination? In Jayson Oliveria’s exhibition, After this, everything you do is wrong, the answers are given.

Masi Oliveria, 2015


PABLO celebrates 10 Year Anniversary with a series of shows This August

Pablo X2

Cubao X, Quezon City – It makes sense that Pablo X,  a month-long series of shows celebrating the gallery’s tenth anniversary, will be held at Post Gallery. It is after all in Cubao X, the hub of art, music, and vintage finds, where Pablo was born.

Established in 2005, Pablo has been exhibiting works spanning a broad range of disciplines as gleaned from the diverse selection of artists participating in the show. All have had a solo show or joined exhibits at Pablo, be it at the Cubao, Makati, or the Fort galleries. A notable line-up exhibiting and performing artists will be featured from August 1 to September 19, 2015.

Kicking the celebration off is a series of collaborative graffiti art by Okto, Ekis, Drone & Exld Manila on Saturday, August 1. The anniversary’s Illustration exhibit will be curated by Saturnino Basilia (Dina Gadia & Allan Balisi) and will feature works by Wiji Lacsamana, Abi Goy, Liza Flores, Manix Abrera, Nelz Yumul,   Lala Gallardo-Samson, Epjey Pacheco, Bjorn Calleja, Beejay Esber, Eva Yu, Meneer Marcelo, Dex Fernandez, Ramon Bautista, Jun Sabayton, Camy & Patrick Cabral, and Julius Sebastian. The Urban Art and Illustration exhibit is from August 1 to 8, 2015.

The second part of the Pablo Ten anniversary show will open on August 15 and run until August 22, 2015. It will focus on Video Art, and will showcase the works of Ivan & Pauline Despi, Tad Ermitaño, Kaloy Olavides, Martha Atienza, Poklong Anading,  and Lena Cobangbang. The opening night will be highlighted by a special Selecter FM Session, curated by Caliph8 with performances by Pow Martinez & Kaloy Olavides (with Pastilan Dong), Malek Lopez & John Sobrepena, Roger Lopez & Richard Tuason.

The third Pablo Ten anniversary event will run from August 29 to September 5, 2015 featuring installation works by Jeona Zoleta. A Photography show opens on the same night, curated by David Griggs and showcasing the works of Mitch Mauricio, Jay Yao, EWWS, Jed Escueta, Brendan Goco, Paolo Ruiz, RA Rivera, and MM YU.

Pablo Ten will end its anniversary celebration with a Painting exhibit by Pow Martinez, Tin Garcia, Jigger Cruz, Jayson Oliveria, CRAJES, Zeus Bascon, Dina Gadia, Allan Balisi, Albert sy,  Romeo Lee, Ranelle Dial, Mike Crisostomo, Katwo Puertollano, Cos Zicarelli, Maria Cruz, Argie Bandoy, Mark Salvatus, Carina Santos, Auggie Fontanilla, and  Neil Arvin Javier

The exhibit opens on September 12 and will be up until September 26, 2015.

To stay updated on the shows, visit postpablo.wordpress.com and pablogalleries.com, or Pablo X’s Facebook event page.

For further inquiries and more information, contact Pablo at 63(920) 960.5690    or email fort@pablogalleries.com

PATRICK CRUZ : GOOSE EGG SANCTUARY opens on 11 July Sat 6PM at Pablo The Fort

Goose Egg Web Invite_jpg

“Nikes are first and foremost Nikes and only later a shoe, with the symbol on the shoe becoming the material substance from which it is actually made”
–Joshua Simon, Neomaterialism

Ten minutes into Jamie Uys’s 1980 cult classic The Gods Must Be Crazy, we witness the careless pilot consuming and discreetly disposing a bottle of Coca-Cola out of his window while flying over the Kalahari Desert. While ambling the blonde safari, Xi, the protagonist bushman, encounters the bottle on the ground. Baffled and curious with its alien-like qualities, Xi immediately brings it back to his village thinking that it was a present from the Gods. The simplistic Kalahari Bushmen, who are only familiar with wood and bone, slowly find countless ways to incorporate the foreign glass material into their everyday rituals – from curing snake skins to playing music, mark making, and pounding root vegetables and grains.

Fueled by enchantment, the tribe develops a symbiotic relationship with the bottle, as if magically shifting its intrinsic ontological and practical properties. Uys’s narrative seems to happily undo the curse of capitalist refuse, reinvisioning and decolonizing the so-called gift from the Gods. However, the use value of the bottle gradually increases within the tribe and, since there is only one bottle in existence for them, tribal members start to claim ownership over it. The once harmonious Kalahari Bushmen break into chaos, creating envy and start to violently fight over its possession. The pandemonium results in a gathering of the tribal elders, which leads to an agreement to send Xi on a pilgrimage to bring the cursed gift back to the absent-minded Gods in order to restore peace in their community.

Patrick Cruz (b.1987) is a Filipino-Canadian artist primarily working in painting, installation, assemblage and performance. His profusive work oscillates between the personal and the political. Rooted in folk sensibilities, Cruz addresses the symptomatic effects and the paradoxical nature of modernity while attempting to find intersections between pre-historic desires and futuristic aspirations.

Cruz studied in the University of the Philippines and received his Bachelor of Fine Arts from Emily Carr University of Art + Design. He is currently an MFA candidate at the University of Guelph and a finalist of the 17th RBC Canadian Painting competition. His recent solo exhibitions and projects include Kitchen Codex: a Community Portrait (2015), Musagetes, People of Good Will & POSTCOMMODITY (ON, Canada); Brown Ninja: Ways of Moving (2015), Project 20 (QC, Philippines); Electronic Birthstone (2014), Dynamo Arts Association (BC, Canada). Upcoming projects include group exhibition Auto Feeling at Katzman Contemporary (TO, Canada) and the organization of the 2nd Kamias Triennale (QC, Philippines) in 2017.

The opening will be supplemented with an artist talk which will start at 5PM.

Autonomy Warriors opens at Pablo this 10th of January

Autonomy Warriors invite 1 medium


Pablo Gallery opens the year with an exhibit called Autonomy Warriors by Australian artists David Griggs and Rene Sinkjaer.  David Griggs had been based in Manila since 2005 and had been documenting subcultural scenes from prison gangs, tattoo artists, skateboarders, and other denizens of the gutters of urban Manila, straightforwardly depicted where their scars and wounds and pus ooze and gape wide open for their visceral truthiness, at times incorporating some of these images onto his paintings that are colorful pastiches from his subconscious psychogeographic meandering of the streets of Manila. This time, he focuses his lens on skater girls of Cubao, girls that are on the verge of womanhood but inundated by the bruises of their sport, defiant of the usual dainty images of girlhood.

Both artists will be present at the opening on the 10th of January, Saturday at 6PM.

David Griggs will also be releasing on the opening his book Warriors, a collection of photographs which comes as a 38 page hardbound book in 20 limited editions.

The exhibit Autonomy Warriors will be on view until the 21st of February.

Pablo Gallery is at South of Market Condominium, at the corner of 11th Avenue and 24th Street, Bonifacio Global City, Taguig; and is open from Tuesdays to Saturdays 12 – 7PM.

For further inquiries, please contact +63(2) 5060602 or +63(2)4007905 or +63(917)6541523 or +63(917)6541515; or email fort@pablogalleries.com


Rene Sinkjaer only began to paint in 2004 after he migrated to Sydney from his country of birth of Denmark, tapping belatedly the keen curiosity and fascination for art he’d been harboring since he was a kid.  His paintings are seemingly autobiographic scenes from a life of an artist depicting scenarios such as an artist’s garage sale, graffiti painting in the shower stalls, an orgiastic party, the interior/parlor of a collector/ eccentric. These are rendered naïf-like in bright colors, he paints minimally a narrative that unfolds in each viewing – maybe macabre, maybe based on something real, maybe entirely from imagination, yet belying a gravity of pathos despite the brevity of strokes, and directly quoting Philip Guston who has said of painting as “autonomous, pure and for itself, therefore we habitually analyze its ingredients and define its limits. But painting is ‘impure’. It is the adjustment of ‘impurities’ which forces its continuity.”

This would be Sinkjaer’s  first time to exhibit in Manila.

For He Has Arrived_lo


Rene Sinkjaer was born on the West coast of Denmark in 1977.

In 2001 he attended a technical college where one of his teachers noticed that every book of Sinkjaer’s was covered in doodles and pointed out that maybe he should be attending a different class.  Two weeks later that same teacher decided to take the class on a excursion to the art museum, it was here Sinkjaer was introduced to the magical world of creativity, it was the Cobra painters Asger Jorn, Corneille, and Carl-Henning-Pedersen that caught his attention, the vibrant colors and quirky imagery was exiting and liberating. In 2004 he moved to Sydney on a one year thinking pause, a way to break free from bad habits and start anew. One day he walked in to an art supplier and bought his first blank canvas, this would be the beginning of 10 years of feverish search for a personal style, a fresh image.

David Griggs, Warriors #2, 2014 digital black and white photograph, 82x60cm_lo


David Griggs was born in Sydney, 1975. He currently lives and works in Manila, Philippines. Griggs is known best for his paintings, photography and film projects. He works closely with various communities and artists both in the Philippines and Australia. He has exhibited extensively in solo and group exhibitions throughout Australia, Asia, Europe and America. He has conducted research for projects during residencies in Barcelona, Manila, Thailand and Burma. His work has been presented in numerous exhibitions including Frat of the Obese, Roslyn Oxley9 Gallery, Sydney (2011) Fluid Zones Biennale Jakarta XIII (2009), Blood on the Streets, Artspace, Sydney (2007), The Independence Project, Galerie Petronas, Kuala Lumpur (2007), Exchanging Culture for Flesh, Art Gallery of New South Wales, Sydney (2006), Primavera, Museum of Contemporary Art, Sydney (2006), Post Criminal, Kaliman Gallery, Sydney (2010).  David Griggs is represented by Roslyn Oxley9 Gallery, Sydney, Station Gallery Melbourne and Greenaway Art Gallery, Adelaide.

DOMestication opens on November 15 at Post

DOMestication Exhibit Poster 20141028


Revelations are the ultimate fetish item. Personal kinks become openly-traded commodities, aspirational statements positioning the ‘kinkee’ as part of some Other. Personality melts into self-branding. Consenting surrender becomes an act of aggressive promotion. Kneel, beg, bend, worship the lash, rack up the pageviews.

However: bondage doesn’t always have to be an outward assertion. For DOMestication, Isobel Francisco, Tin F. Garcia, and Eva Christine Yu create works that portray bondage as a private – or should we say domestic- affair. These ladies tackle pressing questions, such as: which is more constricting – a life under a dom, or a life of domesticity?  And is there even a distinction?

The result is three divergent voices unified by a singular theme. Isobel Francisco infuses her paintings with a sense of narrative tension. More than her knots and gimp masks, it’s the distance between bodies that suffocates. Tin F. Garcia presents a menagerie of animals, and the process twists what “domesticated” really means. These animals willfully surrender the inner beast to experience external pleasures. She also creates some meta-kink by showing a furry monkey IN a furry suit. And there is Eva Christine Yu, who renders amorphous layers of silken sexuality. In this series, she enlists horned androgynes to oversee the spurts of ink and watery phalluses.

– Inigo De Paula


Isobel Francisco:

“I illustrated the bondage theme in the emotional sense; they are bound to each other by invisible cords that minimize struggle but also minimizes the meaning in their relationship. It is consensual but distant, unfulfilling. My canvases depict two people that are both together (and connected to each other in some way, such as touch or presence) and yet distant. Some bondage props are minimally utilized to tie them with the exhibit theme and to “physically” manifest the bondage found in domestic relationships.”





Tin F. Garcia:

“I wanted to show these animals engaging in games of domination and fetishism. I also used the term “domestication” in relation to animals being, well, domesticated. These creatures are being tamed, being made to submit to a series of unknowable gratifications. They are domesticating each other using tools normally used by humans.  In the process, I try to de-sexualize them and present them in a straightforward, somewhat detached, manner. I also took inspiration from nature magazines. By doing so, I was able to explore the desexualization of power, and strip bondage down to its rawest core.”



Eva Christine Yu:

“Domesticity is self-inflicted, because of how one wants be perceived by others. The exterior can be tamed, but the restraint only livens the pent-up carnal creature within. These creatures must not escape, or they will leave grisly imprints on a deviant. The artworks reflect the confusion that beats up the inside. The contorted creatures come from the Chinese custom of foot binding. Despite the pain of the process, women still want to have their feet bound for beauty. So these pieces are part contortions, part lashings and scars. These are ugly things made to look pretty just to fit in the mold one created for oneself. Domestication is a self-inflicted illusion. The characters are literal representations of the carnal personas. Man both pacifies and fights the carnal nature at the same time, and causes conflict within. The tentacles and ink are elements of the constant  wrestle and stain that marks a subversive. The images are made to look like a confusion between fight and play.”

evayu2 evayu

Pow Martinez : May Cause Profound Mental Retardation ( The Works)


on view until November 15.


after yoga face

After Yoga Face, 2014, oil on canvas, 30 x 24 inches

gods gift

God’s Gift, 2014, oil on canvas, 18 x 18 inches

ideal body

Ideal Body, 2014, oil on canvas, 18 x 24 inches

macho man

Macho Man, 2014, oil on canvas, 30 x 24 inches

male pose

Male Pose, 2014, oil on canvas, 18 x 24 inches


Pickles, 2014, oil on canvas, 72 x 49 inches


untitled portrait

Untitled Portrait, 2014, oil on canvas, 18 x 18 inches

video message

Video Message, 2014, oil on canvas, 18 x 24 inches

wrong body 4x6

Wrong Body, 2014, oil on canvas, 72 x 49 inches

wrong body

Wrong Body, 2014, oil on canvas, 18 x 24 inches

wronger body

Wronger Body, 2014, oil on canvas, 18 x 24 inches

Pow Martinez : May Cause Profound Mental Retardation



On September 27 Pow unveiled a new series of paintings in a show called May Cause Profound Mental Retardation at Pablo The Fort. Following from a style reminiscent of Philip Guston, the works unflinchingly flaunt the body in all its contorted glory. How apt at a time of social network and websites being flooded with news of leaked celebrity nude pics and the persistent hypocrisy of the moralizing policing over these things, and of the selfie phenomenon (as can be gleaned on the duck portrait, a visual actually literal illustration of duck-facing), the internet a seeming gateway to an utter trashbin of vanity preening and trolling. We may as well have been living in the instant-gratification dystopia of Idiocracy , the painting of skulls floating in a jar, heads pickling far too long in too deep in these inanities. Interestingly, the contorted bodies in Pow’s paintings draw parallelism in his sound art practice where he circuit bends gadgets and guitar effects to maximize further the aural capabilities of an otherwise limited technology. The human body, in a way, “circuit bends” itself, through surgery, physical exertion, yoga, steroids, and virtually through Photoshop, to either approach the ideal or to even surpass that ideal, resulting in a misanthropic caricature instead, and as probable prototypes for Pow’s idea of the post human body.


The artist with Pablo Gallerist Osie Ocampo all in good cheer


the grub



the beer

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new media curator Merv Espina (behind a series of talks & dialogues on current art practices as research material for a really big project, would also be curating an exhibit at Vargas Museum this November) with Albert Sy, who plays bass for punk band Bad Omen and DIY distro Nine Iron henchmen, will be spinning for Post ‘s third edition of Selecter FM Session on October 4 Saturday.

Coincidentally later that night, found myself conversing with Merv about humans being robots themselves primarily, the implied meaning of robots as labor, homogenous thinking, that the battle cry of Workers of the World, unite, is really a trap into homogeneity, into rather further submission into servitude.  Thanks Jack for that!

The boys!


the usual suspects : Mike Crisostomo (the other half of the Weather Bureau, currently preparing for a solo exhibit March next year at Post), part time seaweed farmer Kurt Gloria doing stencils for a solo exhibit at West Gallery, Ferdz Valencia part of a group show opening at Pablo November of this Year, & Jed Escueta who will be doing a walk-through of his exhibit Coprolite Happens at Post on Oct 11


JLC, JO (opening a show at West on Oct 30 and at Finale on November), Esquire EIC Erwin Romulo, Argie Bandoy ( also part of the group show opening at Pablo this Nov)


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new friends living and working in Manila, such as art historian Tina from University of Michigan who is doing a research on art from the 70s of Southeast Asia with a focus on Philippines and Malaysia.

the bikes

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the jam

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Tin Garcia’s Homebodies Opens on August 2 Saturday at Pablo Fort

Blessed Is That Servant

As For Me and My Dom

The works in Homebodies, Tin Garcia’s latest collection of paintings and installations, take inspiration from the Book of Hours, a Christian devotional manual from the Middle Ages. The creators of these illuminated manuscripts added luxurious amounts of embellishments and iconography- the same details that can be found blossoming on Tin’s lavish canvases.

The Book of Hours advocated a rigid set of instructions for prayer and worship. Tin adapted this austere program for the creation of her works. For hours on end, she sat below her paintings, painstakingly embroidering each flower, each vine, and each cord. These thousands of stitches transformed the creative process into a form of artistic monasticism. But instead of praising the holy, Tin’s works revealed the delicious kinks of women in bondage.

Much like prayer, bondage can exist as a form of public theater. For some players, bondage unfolds along the peripheries of performance art, public exhibition- and even cosplay.

… and then, there are the individuals who see bondage as a private ritual, their deepest kinks more akin to a personal prayer than a bombastic sacrament. In this group of embroidered paintings, Tin unveils acts of bondage taking place behind doors. A lustrous ponygirl chomps on her bit while scrubbing the floor. An obedient maid takes loving punishment – perhaps for bungling a household chore?

These daily devotions take meaning from their seemingly banal context- after all, acts done in private, away from the gaze of vying peers, are often the most sincere. As it is with these women, so it is with the artist, bound to her creative process, realizing that the act of relinquishing freedom is in itself an assertion of power.

– Iñigo de Paula