How do we sleep while our beds are burning? (Sabong News)

In 2019, the local art scene witnessed what the future might hold for humanity through Vincent Padilla’s exhibition “Romancing the Inevitable.” Sculptures of heads, big and small, with unique designs and hollow gazes were seen in Intramuros, where a protest aimed to educate people about the consequences of their actions toward the planet was taking place. This time, the visual artist stays true to his mission of prophesying the future through his latest exhibit dubbed “Lying Between Critical Faults.” A self-confessed traditionalist when it comes to art, Vincent has discovered something new with paint pouring, a process known as a form of abstraction or non-representational art. During the pandemic, with the human sculptures from his past installation, the artist played with the technique and eventually decided to put it on canvas. “‘Lying Between Critical Faults’ focuses on wall-bound pieces, unlike my previous installation ‘Romancing the Inevitable’” says the multi-awarded artist. “‘Lying Between Critical Faults’ can be viewed as an exhibit with a more traditional approach, although some of the pieces from ‘Romancing the Inevitable’ are part of the show in order to present a continuity of concept since my latest show has the same theme as the previous one.” What’s unique about the paintings in this gallery is that they are made by chance, much like tarot reading, looking through a crystal ball, gazing at the stars, and other forms of future telling. There is a sense of spontaneity in Vincent’s paint pouring process. While he manipulates the clouds on the portraits, that control is not applied when it comes to the terrains. “Acrylic paint pouring is a new kind of painting technique,” says Vincent. “Because of its invention, painters now can play with art in a way that artists from the past could not. Technology, for me, in relation to art material, is essential to the formation of art movements.” For two years, Vincent has been creating imaginary landscapes through pouring paint, images that are somewhat terrifying even as they come in vibrant colors. Hues from earthly greens and grays to blazing reds depict images of flowing lava and a deteriorating planet—a world burning from within. ‘Acrylic paint pouring is a new kind of painting technique. Because of its invention, painters now can play with art in a way that artists from the past could not.’ “My work tackles the issues of global warming, our critical fault as human beings, as being too self-centered and apathetic to the planet,” he muses. “I present images of what could happen if we, as Earth’s occupants, don’t make a drastic change to reduce our carbon footprint, which will eventually bring us to our demise.” Apart from painting his cause, Vincent also explores the balance between art and anti-art. In the exhibit notes, he mentions Dadaism, an art movement in the early 20th century, and how the Dadaists embraced “chance” to change artistic norms, ultimately creating art and anti-art. He believes that “Lying Between Critical Faults” achieves both disciplines, thanks to the new technique. “As an artist who loves to educate and learn at the same time, I always prioritize my foundation as an artist and a learner,” says De La Salle-College of Saint Benilde art professor. “I appreciate and consider the legitimacy of even the most bizarre art as long as it passes my objective standards that are based on my artistic foundation. Fine art is an expression of an artist. Creating an artwork involves a great deal of technical and artistic mastery. Conceptual art is an expression of an artist that involves the exploration of the freedom of the artistic mind. I always consider both when I create art. One without the other, for me, is an artistic failure.” While “Lying Between Critical Faults” is available for viewing at Altro Mondo Creative Space until March 12, Vincent is already planning a follow-up solo exhibition titled “A Tale of Impassivity” with November as its target opening.