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Monday, June 04, 2007

 

The extraordinary Bernardo Pacquing

 
The practice of painting is in itself a long arduous process, a journeyman’s excursion into self-discovery. Thus, it is a solitary act that feeds (unto) itself, a feeding that gains its momentum from a life just glimpsed through the windows of a white cube. Otherwise, it’s an entrapment willingly plummeted into to lose one’s self into the very process of gradual becoming. Undeterred devotion then is the reedy bow of virtuosity.

Bernardo Pacquing in his exhibit Envisage opening at the Mag:net this Thursday elucidates such dogged persistence to practice with his paintings that are seemingly guilefully effecting naivete with its bright scrawl-like strokes, careening across flat planes of color or mussed obsessively in a corner. These paintings bear the uncanny resemblance of a child’s wanton scribbling on the walls of a mid-century dwelling that has never retouched its original coat of paint but marked.

Intermittently by patches, swathes of colors and tones that attempt to erase the previous scribbles—a picture of a house with a triangle roof, an airplane hovering over clouds, or just plain attempts at writing or drawing.

However, these are perhaps Pacquing’s continued exercise in undoing familiar imagery to get at impressions of memory of things, of objects, distilled as surface, yet they are precariously reconstructed as their very remembrance quickens to a certain amnesia. This is paralleled by his process of applying and sanding over several layers of latex, plaster, and oil paint, and the scribbling he does with pencil. Yet this undoing is at the same time, a precise exercise that’s carefully deliberated upon and begets a certain mastery. Akin to playing adagio exercises on a violin before attempting to play a composition of its own as though to temper the fingers to the many nuances of plucking, stringing and fiddling as to have the violin be an extension itself of the wielder, so does the same devotion to painting would render the practice itself as an expeditious instinct for the painter, for a transcendence that plateaus for the tangible forms.

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Severino O. Frayna Jr., Benjie Dela Rosa
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