Sampaloc cave paintings

Organized by Finale Art File An elegiac wistfulness for the primeval before rigid structures that delimit and categorize habitation that lead to the creation of cities permeate Geraldine Javier’s latest exhibit entitled Sampaloc Cave Paintings organized by Finale Art File and opening on the 24th of June at The Podium. In patinated tones of somber blues, greens and tinges of ochre reminiscent of mid-century grammar books, the painted scenes portend to fables of dissolving borders between the acclimatized fantasy engendered by media and the real. Somewhat a refashioning of Plato’s cave where it is purported that those who have stayed in the cave too long are in danger of amusing themselves too much with mere shadows, real life passes by them in their unwitting isolation from them. This is best exemplified in Blackbird Singing where a girl in a blue story-book pinafore gazes lethargically in front of a glowing TV monitor, completely unaware of the brightly-hued birds pecking at a crumpled bag of chips at her deathly grip. (George Romero is an acute observer then of the habits of urban dwellers caged-in too much by their complacent and addictive routines of automated digestion of mostly by-products and trifling trivial matters – TV + chips = zombie trance. The sudden pangs of hunger for another’s brain is merely suggested, mimicked from other’s actions, the mimicking multiplied becomes an unthinking mob, ready to lynch without reason, easy to kill then without their individuality, like herds of cattle, to be slaughtered without remorse.)

Curated by Nilo Ilarde

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