A glimpse of multi-realities – illustrating the traditional and digital media by Señor Galván
Text by Caryl Mae Soler. Images courtesy of Franchesca Lesaca.
Nothing will ever beat the sense of realness that embodied the distortion of latent discoveries between the different realms of realities, embraced by the influence of comfort or in madness among the shed of the light conveying the possibilities it proffers in the medium of communication and expression. Questions that play around the two sides of the spectrum, between the abstraction and figuration.
Señor Javier Galván, the Director of Instituto Cervantes de Manila, shares a spectacular way of his sentiments that thrills the complex understanding of the modern and contemporary audience with the great influence of Betsy Westendorp, by spearheading its 1st Solo Exhibition at Leon Gallery International under Derek Flores’ art management, with his mixed masterpiece of paintings and photographs entitled, “Otras Realidades” (Other Realities), that opened last June 7 exhibiting until June 20, 2022.
Un Tranvia Llamado Tijan, a prolific shot of a city stoplight in a midst of a busy crowd with its smudged and blurry light stripes making it vaguer creating self-idiom of its propelled elements. The Lucernario Oranes photographs show the explicit example of claro-obscuro, or in other words chiaroscuro, which refers to a strong contrast between lightness and darkness that creates the illusion of volume that was developed during the Renaissance. This has the reflecting potency of shadows and light in the colors of russet orange and calming turquoise. Sin Titulo also shows a different balance of chiaroscuro by its monochromatic light to dark orange shade, visually echoing the altered reality of skies.
Meanwhile, his cloud painting was dominated by Betsy Westendorp who donated a large painting of clouds – what she later called atmosferografias – during Señor Galván’s first tenure at the Instituto Cervantes de Manila, which was painted as a lament and a memorial piece for her eldest daughter Isabel, who died in Madrid while Westendorp was in Manila. Caracola is a photograph of an ephemeral painting that express the impermanence of life and nature, an actual moment in time that was meant to last for a while. Another photograph on canvas is the Maligayang Pasko which perfectly harmonized the tone and its palette creating a great phantasm of the Christmas spirit. Another captivating painting is the T’boli, oil in canvas that immaculately exhibits the representation of its descendant’s culture and garments – such as T’nalak, a woven clothes exclusively by women where the designs are believed to be weaved in their dreams, thus the exposition of different bright red colors also shouts the quintessence of the define spiritual depiction of T’boli.
“Señor Galván is galvanized and affected by his encounters with reality – and from this, he creates other realities” truly a great remark by Cid Reyes, it is beyond someone’s apprehension to recognize and decode the true notion expressed by Señor Galván’s exhibition, exposing the possible certainty of the present among its proposition uncovering the multi-realities hovered on its art viewed in one’s local eye.