“A Day in the Life” is an exhibition that operates on a few premises that encourage the making of a work of art. The proverbial notebook or any similar tool (a camera, a diary, etc.) is kept on hand and jotted on for a minimum number of seven days. As a result, and in most, a painting is done a la prima. An artist sits down and works on an idea that is immediately in scope: an object in the room, a still life, a passing thought, or an idea that has been gnawing for a number of days.
The subject for a work is hard to come by, and sourcing these is as difficult as executing and giving expression to one. Inspiration comes in momentary glimpses and the protégé is left to cultivate his sensitivity, desire and will to catch these fleeting thoughts.
The exhibition witnessed varied approaches. Rain Biglang-awa made perfect use of his day job as a budding architect. In one of his firm’s sponsored events, he took note of scenes in an orphanage. An intriguing image that arose is an outlandish colored bathroom. Rain took interest in the image as he witnessed an sickly orphan being bathed by the child’s caretakers in the said room, and was affectedly moved by the pains that entailed with the routine.
Therese Nicole Reyes, on the other hand, enjoyed making her suite of paintings inside her room-cum-studio. She also took interest in ordinary and often neglected items inside the room: a clock, a doorknob, the ceiling. The objects she chose to paint are as nonchalant, banal and objective as it can be, but these duly give information about Nicole – a person who considers little things, relishes factuality, and maybe, spends her time purposefully.
In another, Psalm Astejada decided on a manner of work that gives air to his extracurricular interests. In his set of works, he tries to represent the ails of farmers on the raw receiving end. Using a stylized painting technique, this is a young person exercising his idealism.
And, in one abstract vein, Jone Sibugan explored a technique with various media that utilizes their different viscosities, characteristic textures and the luminosity of layers of color. Jone’s abstracted images reflect his interest in the causalities of the state of condition of our environment that, regretfully, is on the wave of constant degradation.
These are a few that comprise “A Day in the Life.” In a long and high view, the exhibition offers not only a means and a platform for sourcing subjects that are inspiring and definitive, but it asks each individual to engage the immediate surroundings befalling him/her – however dreary, un-interesting, or, on the other pole, teeming with color, excitement, and attitude. As each day is recorded, the person who accomplished the daily task is more aware and blessed. For a society needing its artists to be proactive in embodying its dreams and aspirations, the accomplished platforms on hand is of interest, if not totally necessary.