LINDSLEE YOUR PERSONALITY IS YOUR WORST ENEMY J U N 3 - J U L 29, 2017
A RT D I R E C T O R
Silvana Ancellotti-Diaz
EXHIBITION TEAM
Johanna Labitoria Mayet Taluban Vicente Amancio, Jr. Ulysis Francisco Jose Jeoffrey Baba
Thess Ponce Bing Francisco Roy Abrenica Edgar Bautista Gabriel Abalos
EXHIBITION NOTES
Lec Cruz
GRAPHIC DESIGN
Anna Rafanan
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LINDSLEE
YOUR PERSONALITY IS YOUR WORST ENEMY
“The most terrifying thing is to accept oneself completely.” ― C.G. Jung
Your Personality is Your Worst Enemy WORDS BY LEC CRUZ
T
he recurrence of the myth of Narcissus in literature and in the arts echoes a warning towards excesses. A man drawn to his own reflection on a body of water and who later resigns from the world, left alone with his own image. His eventual demise can be seen as unfortunate, but the real tragedy lies in the unrealized truth – that he was gazing at himself all along. It is a tragic symbolism of man becoming his own worst enemy, a reality that persist in today’s world, farcical as it may seem. In Your Personality Is Your Worst Enemy, Lindslee presents us a catalogue of works providing a glimpse of his artistic career ranging from figurative and abstract paintings to sculptures and works in taxidermy. His works reveal his take on social situations, touching it with wit and humor without undermining its heft and complexity. He turns mundane day-to-day life and turns into a dialogue, negotiating with the audience’ viewpoint on each imagery. The reemergence of previous works and phases of artistic styles served as an artistic challenge that allowed exploration to breath new meaning and fresh perspective.
The More You Let Go the More You Get, 2017 Oil, acrylic painting on canvas on flourescent color frame 192.5 × 192.5 × 6 CM / 75.75 × 75.75 × 2.5 IN
In ‘The More You Let Go The More You Get,’ Lindslee returns to abstraction to recreate an old work. In it, he reimagines a state of mind and tries to capture every memory with his brushstrokes resulting in a palimpsest of ochre and umber tones. In his attempt to approximate an image, a new one spawned, resulting in reconciliation between the past and the present. ‘Retrospective’ bears a semblance of introspection and realization. The faint printed background of a Roman sculpture is superimposed with squeezed colorful palette of paint as if all the colors where stripped out of the image and laid down like a trail of clues. Mix matched with vibrant colors and taunting text, ‘Standing Still’ and ‘Validating Beauty’ forces us to read between the lines. Oscillating between mundane expressions and social connotations, the image-text taunts the viewer to append social scenarios in Philippine context―to see beyond the images. They parley a message of scrutiny on social norms, on how simple words define the contours of our society. The depiction of Lady Justice holding a rooster in Lindlee’s ‘Not Fair’ adds a hint of localized version on the iconic allegorical personification of moral justice. The affixed taxidermy is reminiscent of St. Peter’s rooster. Conjuring Catholic notion as the gatekeeper of heaven, St. Peter determines who can pass the gates of heaven. Charged with social relevance, the sculpture examines socio-political aspect of morality that persists and the culture it breeds for future generations.
‘The Myth’ renders a reimagined sculpture of Leda who was seduced and raped by Zeus. In its reincarnation, Lindslee provided a contemporary rendition in a relative naturalistic manner. In it, we find a modern depiction of a ‘perfect’ figure, with her slender but curvy features topped with wellendowed bosoms. The swan wrapped around her private parts, seemingly allured and mystified by her beauty. ‘The Consumption’ on the other hand, posits a different scenario. The man’s bulging skin, plumped and in excess, looms all over, while he holds two birds at his mercy, waiting to be devoured. Both works ruminate towards body-politics, self-mage and the idea of over-indulgence. They provide us a narrative on the literal and metaphorical sense of exuberance and vices. In ‘I wish I Can Paint Like You’ and ‘Not So Common Sense,’ the posture held by the sculptures is emblematic of a melancholic disposition. One is covered with colorful paint but resonates hollowness within, and the other is in full form but with the absence of color. At its core, their titles suggest every artist’s fear and anxiety towards their artistic ingenuity and ability to produce meaningful, ‘original’ works. The works also, triumph in anthropomorphizing the universal longing to create a mark in the world, to be able to mold a self, worthy of recognition.
Validating Beauty, 2017 Oil on canvas with neon light 107 × 152.5 × 10 CM / 42 × 60 × 4 IN
Vain, 2017 Pocket size oil painting portrait on canvas in a large scale black frame 149 × 144 × 1 CM / 59 × 57 × 6.5 IN
Not Fair, 2015-2017 Resin, fiber, taxidermy chicken, wood pedestal 180 × 84 × 76 CM / 71 × 33 × 30 IN (WITHOUT BASE) 351 × 133 × 112 CM / 139 × 52 × 44 IN (WITH BASE)
Self Portrait, 2017 Glass, cement, fresh water plant, led light, soil, live fish, wood pedestal, aquarium accessories 31 × 157 × 33 CM / 12.25 × 62 × 13 IN
The exaggeration of the painting frame, resulting into multiple monochromatic frames enclosing a tiny portrait of a woman creates an arresting image in ‘Vain.’ This image oscillates against Lindslee’s ‘Self Portrait,’ where his bust is submerged in an aquarium subsumed with aquatic green pastures. Through these portraitures, Lindslee confronts us with two extreme scenarios of gazing through the ‘self.’ One beholds us with flamboyant but shallow caricature, while the other allows introspection and osmosis of understanding from within. •
MICHAEL JOHN ‘LEC’ CRUZ LIVES AND WORKS IN Q. C.. CRUZ IS A GRADUATE OF BA PHILOSOPHY AND STUDIED FINE ARTS MAJOR IN STUDIO ARTS AT THE UNIVERSITY OF THE PHILIPPINES, DILIMAN. HE IS ALSO AN ACTIVE ART WRITER SINCE 2015 FOR ARTIST EXHIBITIONS IN VARIOUS METRO MANILA-BASED ART GALLERIES AND IN THE HONG KONG ART BIENNALE.
The Myth, 2017 Resin, fiber, taxidermy goose, wood pedestal 76 × 130 × 72.5 CM / 30 × 54.5 × 28.5 IN (WITHOUT BASE) 141 × 142 × 75 CM / 54.5 × 56 × 29.5 IN (WITH BASE)
OPPOSITE PAGE
Retrospective, 2007-2017 Squeezed acrylic on hole printed canvas 244 × 153 × 4 CM / 96 × 60 × 1.75 IN
Standing Still, 2014-2017 Cut painting on canvas 133 × 336 × 4 CM / 52 × 132 × 1.75 IN
The Consumption, 2017 Resin, fiber, two taxidermy chicken, wood pedestal VARIABLE DIMENSIONS
I Wish I Can Paint Like You, 2017 Resin, fiber 62 × 94 × 60 CM / 24.43 × 37.04 × 23.64 IN
Not So Common Sense, 2017 Resin, fiber 84 × 46 × 64 CM / 33.5 × 18 × 25 IN
LINDSEY JAMES LEE January 21,1979 Bacolod City, Negros Occidental, Philippines
DATE OF BIRTH BIRTHPLACE
ACADEMIC BACKGROUND 2001 1996-2000
The Art Students League of New York, New York, USA Mixed Media / Drawing, Painting, Color and Composition Bachelor of Fine Arts Major in Painting, University of Santo Tomas, Metro Manila, Philippines
AWARDS & RECOGNITIONS 2013
Finalist Tanaw National Art Contest
BANKO SENTRAL NG PILIPINAS, METROPOLITAN MUSEUM,
2011
Finalist Tanaw National Art Contest
BANKO SENTRAL NG PILIPINAS, METROPOLITAN MUSEUM,
2009
10 Most Exciting Young Artist
2006
MANILA CITY, PHILIPPINES MANILA CITY, PHILIPPINES MAKATI CITY, PHILIPPINES
PHILIPPINE DAILY INQUIRER & NOKIA, THE GALLERY, GREENBELT 5,
Jurors Choice Nature in Abstraction AAP-ECCA, PASIG CITY, PHILIPPINES Finalist, Ateneo Art Award ATENEO DE MANILA, PHILIPPINES 2003 Honorable Mention Painting Category ARTS ASSOCIATION OF THE PHILIPPINES, GSIS MUSEUM, 2004
PHILIPPINES
2002
1st Honorable Mention
2001
1st Place Mixed Media Category ANNUAL FINE ART SHOW, LONG BEACH, NEW YORK, USA Juried Choice ART EXHIBITION for 2002 HARRISON COUNCIL FOR THE ARTS AND H.P.L. NEW
2000
Semi-Finalist Metrobank Young Painters Competition MAKATI CITY, PHILIPPINES Semi-Finalist Metrobank Young Painters Competition MAKATI CITY, PHILIPPINES Special Award ART SOCIETY OF ST. SCHOLASTICA’S COLLEGE, PHILIPPINES Finalist Shell National Art Competition ROBINSON’S GALLERIA, MANDALUYONG, PHILIPPINES 1st Place On the Spot Painting Contest LA CONSOLACION COLLEGE, BACOLOD CITY, PHIPPINES 1st Place On the Spot Poster Making DEPARTMENT OF EDUCATION CULTURE AND SPORTS
1999
1998 1996 1995
CONNECTICUT, USA
ART SOCIETY OF OLD GREENWICH FLINN GALLERY, GREENWICH,
YORK, USA
BACOLOD CITY
1st Place On the Spot Painting Contest ST. JOHN’S INSTITUTE, BACOLOD CITY, PHIPPINES 2nd Place On the Spot Poster Making Contest DECS, REGIONAL LEVEL, ILOILO CITY, PHIPPINES 2nd Place On the Spot Painting Contest BACOLOD CULTURE FOUNDATION, PHIPPINES 1994 2nd Place On the Spot Painting Contest ST. JOHN’S INSTITUTE, BACOLOD CITY, PHIPPINES 1993 3rd Place On the Spot Painting Contest ST. JOHN’S INSTITUTE, BACOLOD CITY, PHIPPINES SOLO EXHIBITIONS 2016
2014
2013 2011 2009
2008 2007 2006
2005
2004 2003
Untitled Cliché ARTERY ART SPACE, PHILIPPINES Paranoia of the Plutocrats PAN AT 98B ESCOLTA, MANILA Pain Thing ART CENTER ONGOING, TOKYO, JAPAN Why Did The Chicken Cross The Road? TAKSU GALLERY, SINGAPORE It’s All In The Mind GALLERIA DUEMILA, PASAY CITY, MANILA, PHILIPPINES The Science of Painting GALLERIE HANS BRUMANN, MAKATI CITY, PHILIPPINES The Metamorphosis Show GALLERIA DUEMILA, PASAY CITY, MANILA, PHILIPPINES Work Like Nobody Is Watching HIRAYA GALLERY, ERMITA, MANILA, PHILIPPINES Figuring Abstraction THE DRAWING ROOM, MAKATI CITY, PHILIPPINES Animan THE DRAWING ROOM, MAKATI CITY, PHILIPPINES Finding Normal GOETHE INSTITUT MANILA, MAKATI CITY, PHILIPPINES Anti-dote THE DRAWING ROOM, MAKATI CITY, PHILIPPINES Face:Phase PASILYO GILLERMO TOLENTINO, CULTURAL CENTER OF THE PHILIPPINES, PASAY CITY Black and Transparent ART CENTER, SM MEGAMALL, MANDALUYONG, PHILIPPINES SR THE BIG AND SMALL ART CO., SM MEGAMALL, MANDALUYONG, PHILIPPINES Cause and Effect THE DRAWING ROOM, MAKATI CITY, PHILIPPINES
2002
Perception AVELLANA ART GALLERY, PASAY CITY, PHILIPPINES 1st One Man Show HARRISON PUBLIC LIBRARY, NEW YORK
SELECTED GROUP EXHIBITIONS 2016 2014
2013
2012
2011
2010
2009
Catatonic Saturday ARTERY ART SPACE, PHILIPPINES AIR Two-man show HOHMURA GALLERY, SAPPORO CITY, HOKKAIDO, JAPAN Of Time And Memory TAKSU GALLERY, SINGAPORE Diversity Kaida Gallery QUEZON CITY, PHILIPPINES Context GALERIE ANNA, SM MEGAMALL, BLDG A. MANDALUYONG, PHILIPPINES Iskwalado III GALERIE ANNA, SM MEGAMALL, BLDG A. MANDALUYONG, PHILIPPINES Popstract GALERIE ANNA, SM MEGAMALL, BLDG A. MANDALUYONG, PHILIPPINES Daring HIRAYA GALLERY, ERMITA, MANILA, PHILIPPINES Immortals HIRAYA GALLERY, ERMITA, MANILA, PHILIPPINES Kulo MAIN GALLERY, CULTURAL CENTER OF THE PHILIPPINES, PASAY CITY Tribute to Rauschenberg TAKSU GALLERY, SINGAPORE 12x9 WEST GALLERY, WEST AVE, QUEZON CITY, PHILIPPINES Welcome to the Jungle ART INFORMAL GALLERY, EAST GREENHILLS, MANDALUYONG CITY, PHILIPPINES
Chicken Soup Two-man show
2008 2007
PHILIPPINES
THE BIG & SMALL ART CO., SM MEGAMALL, BLDG A. MANDALUYONG,
tutoKKK December show BLANC COMPOUND, SHAW BLVD, MADALUYONG CITY, PHILIPPINES 5th Anniversary Show RENAISSANCE ART GALLERY, ART CENTER, SM MEGAMALL, MANDALUYONG, PHILIPPINES
Black and White Conversation WEST GALLERY, WEST AVE., QUEZON CITY, PHILIPPINES ArtSingapore ’07 THE DRAWING ROOM GALLERY, SUNTEC BLDG., SINGAPORE 2006 Dog God UST Young Artist Circle YONGIN CULTURAL CENTER FOR THE ARTS, YONGIN CITY, KOREA
UNCONTROLLED CONTROL GALLERY ASTRA, LRI BLDG., MAKATI CITY, PHILIPPINES
2005
Dog God UST Young Artist Circle
Dog God UST Young Artist Circle UNIVERSITY OF SAN CARLOS, CEBU CITY, PHILIPPINES Dog God UST Young Artist Circle ILOILO MUSEUM, ILOILO CITY, PHILIPPINES Self-Portrait UST Batch Exhibit ART CENTER, SM MEGAMALL, MANDALUYONG PHILIPPINES Dog God UST Young Artist Circle UNIVERSITY OF SANTO TOMAS MUSEUM, MAIN BUILDING,
2004
PHILIPPINES
MAIN GALLERY, CULTURAL CENTER OF THE PHILIPPINES,
PHILIPPINES
Critical Condition The 1st Ateneo Art Award Exhibit ATENEO MUSEUM, PHILIPPINES Fibonacci ART CENTER, SM MEGAMALL, MANDALUYONG, PHILIPPINES Pistang Sining 2 Kanlungan ng Sining AAP, MANILA, PHILIPPINES Boundless BEATO ANGELICO GALLERY, UNIVERSITY OF SANTO TOMAS, PHILIPPINES 2003 Carating - Lindslee DONADA ART GALLERY, MALATE, PHILIPPINES Freak Show ART CENTER, SM MEGAMALL, MANDALUYONG, PHILIPPINES Faith, Feet, Fate GALLERY NINE, SM MEGAMALL, MANDALUYONG, PHILIPPINES 2002 Gemini HOTEL INTER-CONTINENTAL MANILA, MAKATI CITY, PHILIPPINES Total Abstraction ART CENTER, SM MEGAMALL, MANDALUYONG, PHILIPPINES 2001 Juried Annual Exhibition FLINN GALLERY, GREENWICH, CONNECTICUT, USA YMCA / Art Society of Old Greenwich JURIED SHOW FLINN GALLERY, CONNECTICUT, USA 19th Annual National Juried Exhibition PLEIADES GALLERY, NEW YORK, USA 7th Annual Kennedy Plaza Fine Art Show LONG BEACH, NEW YORK, USA 2000 Thesis Exhibition PHILAM LIFE INSURANCE, ERMITA, MANILA, PHILIPPINES 1999 Outstanding Thesis Exhibition DEVELOPMENT BANK OF THE PHILIPPINES, MAKATI CITY, PHILIPPINES
RECIDENCY AND GRANTS 2014
NPO S-AIR Sapporo-Artist in Residency Winter Program
2008
Joan Mitchell Foundation Scholar at Ox-Bow, Fall Artist in Residency Program,
TOKYO, JAPAN
SAUGATUCK, MICHIGAN, USA
JAPAN FOUNDATION, SAPPORO &
g al leria duem ila was established in 1975 by Italian born Silvana AncellottiDiaz. Duemila means “twentieth century”, and it was this vision that inspired Duemila’s advocacy in promoting and preserving Philippine contemporary art. To date, it is the longest running commercial art gallery in the Philippines maintaining a strong international profile. With the vision to expose its artists locally and within the ASEAN region, Duemila complements its exhibits with performances, readings and musical events in its custom-built gallery in Pasay City, Manila. Galleria Duemila takes pride in being the only local gallery to publish and mount retrospectives of artists as part of its advocacy in pursuing art historical research and scholarship. With the collaboration of institutions, Duemila has mounted the retrospectives of
Roberto M.A. Robles (Ateneo Art Gallery, 2011), Duddley Diaz (Vargas Museum, 2009), Julie Lluch Dalena (Cultural Center of the Philippines, 2008). It has also published a book on Diosdado Magno Lorenzo (National Library of the Philippines, 2009) and produced a major Pacita Abad exhibition at the Cultural Center of the Philippines, 2004. The gallery maintains close ties with museums throughout Asia, Australia, Europe, and the United States. Its futurist vision keeps it at the cuttingedge of Philippine art, making and archiving history as it happens.
s e rv i ce s : conservation an d r e s t or ation of p a i n t i n g s , consu ltancy s e rv i ce s , c om m issions and i n s t a llat i on