The Midnight Marriage
The three distinct worlds of PATRICIA PEREZ EUSTAQUIO, NONA GARCIA, and MARIA TANIGUCHI once again come into union across Silverlens to explore the properties of affinity between their art and the enduring affiliation involved throughout their careers borne out of the substance of shared memories, histories, and kinship.
Having been part of the same generation and having spent significant number of years working together, the affinity, though, that resonates from their works neither comes from a common trait nor a shared discipline, but from a mutual commitment to elevate their craft to a level where form can stand against the same high order of concept/memory which preceded it. This understanding surrounds the space in silence as it does not speak in the language of genres or movements. And each of the artist's identity becomes muted, as their union progresses from one artwork to the next, combining history with type, memory with sensibility. It ensues as a clandestine affair no matter how their works take on a different medium, format, or even entity. The coherence that can be detected, defined by having spent their formative years as artists in proximity, presents the possibility to lure an audience to a more sutured reading of the show.
As none of them paint in the traditional sense, it echoes Magritte's own view of his work which stands only as medium to his ideas. With the merging of EUSTAQUIO's, GARCIA's, and TANIGUCHI's works, they stand only as mirrors to the real ties that bind: memory, history, and identity. And however which way their art might have moved into separate routes they have come back to arrange a meeting point, to approach the possibility of becoming one, to re-examine the properties of convergence, of art as rendezvous.