Bigindicator

The Future That Was

Event  |  Reviews  |  Comments
20131018195138-polyhex_portrait_i
Polyhex Portrait I, 2013 Wood On Fabric, G.I. Steel Bars Sizes Variable, Approximately 16 X 18 X 8 In © Courtesy of the artist and Tyler Rollins Fine Art.
20131015160057-untitled
Polyhex Portrait IV , 2013 Wood On Fabric, G.I. Steel Bars Sizes Variable, Approximately 16 X 18 X 8 In. © Courtesy of the artist and Tyler Rollins Fine Art
20130806032124-vargas_install_crop_1_small
Installation view of "The Future That Was" © Courtesy of the artist & The Vargas Museum, Manila
The Future That Was

529 West 20 Street, 10W
10011 New York
NY
US
September 12th, 2013 - October 19th, 2013

QUICK FACTS
WEBSITE:  
http://trfineart.com
NEIGHBORHOOD:  
chelsea
EMAIL:  
info@trfineart.com
PHONE:  
212 229 9100
OPEN HOURS:  
Tue-Sat 10-6
TAGS:  
sculpture

DESCRIPTION

We are very pleased to announce that Patricia Eustaquio is now represented by Tyler Rollins Fine Art in North America. Her first solo exhibition in the United States will take place at our gallery in New York from September 12 – October 19, 2013. She will present paintings and sculptures that are part of a new body of work developed for her current solo exhibition at the Jorge B. Vargas Museum in Manila, entitled The Future That Was (July 23 – August 24, 2013).

Born in 1977 and based in Manila, Eustaquio is one of the leading Filipino artists of her generation. She works in a variety of media, including painting, sculpture, and installation. Informed by the vocabulary of craft and design, her work explores the vanity of artistic and cultural constructs, referencing the histories and processes related to different materials by crafting highly decorative objects and then excising various elements, thereby creating a stark contrast between what is present what is absent.

She is noted for her large, ornately shaped canvases on which she paints magnified details from Old Master still life paintings, sometimes focusing on haunting imagery such as dead birds and butchered meat. Her sculptural work explores the expressive possibilities of humble materials such as lace, felt, and cardboard, bringing to them an unexpected monumentality.

Her ghost forms constructed out of handmade lace stiffened with resin function as shrouds that take on the shape of the absent objects they memorialize. The iconic work of this series, Psychogenic Fugue, a piano-shaped lace shroud, has been included in exhibitions at the Hong Kong Art Centre (2010) and at the Singapore Art Museum (2012). We look forward to introducing her new work in New York later this year.