MARKETERS and trend forecasters painted a clear day’s picture in projecting the future of Generation Z, or those born between 1995 and 2010. They said these true digital natives, characterized by innate technological savvy and competitiveness, were primed to make the most of a to-be inherited strong economy and record-low unemployment.
The bright outlook, of course, has now been wiped out by a devastating pandemic, where a murky present makes it impossible to peer even into the near future. Amid the uncertainty, some of the young generation’s most promising artists render their thoughts on this crucial moment, or turning point, in an ongoing group exhibition by Galerie Stephanie at Shangri-La Plaza.
Titled Visions at the Turn, the exhibit opened over the weekend and features the works of Gen Z artists Maverick Abac, Gelo Cinco, DanCho, Georgina Pomarejos and Xjin. The group is mentored by artist and educator Anton del Castillo.
Abac and Xjin present characters donning PPEs in highly textured oiled-on-canvas depictions.
On the one hand, Abac shows a dreamy image of a person in a panda suit who takes his mask off and lets out streams of smiley-pinned fluffy clouds that floats into a larger, colored cluster. On the other, Xjin is more dark and direct with a diptych of a man in full-body equipment from masks to gloves, shadowed creases and all.
Aside from the group show, the gallery has mounted two more exhibitions.
One is a two-man show, titled Indulgence, which explores the dual meaning of the word. The first refers to the act of allowing one’s self to partake in pleasure, while the other pertains to a grant of pardon.
Taking on the hedonistic sense of the word is Raha Rodriguez. The artist is also a professional industrial designer who utilizes industry practices, such as 3D modeling, material handling and fabrication in creating distinct sculptural forms.
For the show, Rodriguez bakes and frosts King Racha, his signature character, as a layered cake, which is often associated with the idea of superfluity.
Meanwhile, the more benevolent definition of the exhibition title is interpreted by emerging artist Baby Evil. The name befits the works as Baby Evil is being recognized for provocative themes that pops even more in bright tones.
Such is the case for the heaven-and-hell scenarios for the show where angels and demons are mere children who are free from the preconceptions of good and evil. What only matters to them, fiery boots and immaculate white shirts be damned, is playtime.
Rounding up the gallery’s trio of new shows is a Reybert Ramos solo. The artist is a TV art director who has established himself in the realm of contemporary conceptual visual art, wherein he serves delicious symbolisms by infusing the depth of realism with surreal eccentricities and influence from pop culture and mass media.
In his ongoing show, titled Unnatural Civility, Ramos works his magic with acrylic and graphite on canvas in portraying hybrid characters comprised of animal heads and human bodies that, as the sophisticated clothing and activities indicate, are of the elite class, hinting of sociopolitical undertones.
Unnatural Civility, along with Indulgence and Visions at the Turn, are on view at Galerie Stephanie until August 22.