I’ve already shown you all three winners of the 2009 Ateneo Art Awards in the three previous posts. Now let me show you my favorite out of the twelve short-listed artists. Michelline Syjuco’s “Armadillon” was originally exhibited at the gallery of Mag:net Bonifacio High Street from August 8 to October 8, 2008 and the entire piece is currently on display at the Ateneo Art Gallery although in a more compact version. The two winged figures are made out of wood and beaten rusty scrap metal. In the display case are mannequin’s hands carrying various kinds of handcrafted jewelry made not only out of precious metals and semiprecious stones, but also ordinary metals and rocks, and even hardware. Michelline caught many of my favorite things in he! r piece: science fiction and fantasy, earth tones, chunky jewelry, wood, stone, metal and texture—so it’s little wonder why I immediately fell in love with it. I’ve again written the gallery’s notes of the artwork below but this was one piece where I didn’t need to read the notes to know that I like it.
The problem with modern art pieces like this (and those of the three winners, actually) is, I can’t imagine them outside a gallery or museum. If the artist is willing to break up the parts though, I wouldn’t mind having this spiky, rusty winged warrior in our living room. My dear Dogberry just might protest though. 2009 ATENEO ART AWARDS SERIES #4 OF 4
Design and merchandise are part of the language of function, and they figure prominently in this installation of hand-crafted objects. All pieces are molded or else made for the functions of the body. Or so it seems. Syjuco proceeds to subvert our ideas about functionality foremost by addressing the divide between precious and ‘worthless’ materials. These are exquisite pieces of jewelry rendered from gold, silver, coral and amethyst, but also common metals, stones, flawed pearls and even hardware materials. What she achieves is design informed by conversation, where the quality of each element is brought out in contrasts and combines of intricate yet hard-edged details. Even rust is employed here, its color adding depth to embossed and beaten metal plates.
Syjuco promotes “Armadillon” as her own imaginary world. It is sheer baroque extravagance recalling the grandeur of churches and church ornaments, but clearly she is most inspired by the production design of epical fantasies, drawing on themes of magic and warriorhood.
What Syjuco attempts in her ornamentation are translations of beauty and danger; avid introspections on material and spiritual flight.
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