Art Reaction Paper
Gene Paulo T. Rosal HFH23 BS-HRIM 11390654
AESTHETICS :
Luis Santos Structures oil on canvas, corrugated metal sheets mounted on wooden panel, corrugated metal sheets on wooden pallet. 60.03 x 120.27 in or 152.5 x 305.5 cm | 59.65 x 31.1 x 15.55 in or 151.5 x 79 x 39.5 cm | 113.38 x 31.10 in or 288 x 79 cm 2013
About The Tin Tabernacle of Luis Santos,
The urban vernacular landscape is built from corrugated GI sheets and concrete; its architectural philosophy, expressed by maximizing minimal spaces and improvising. Luis Santos takes the visual language of the streets into the gallery with Structures, his fourth solo exhibition. Born from his interest in random abstract forms, the show is a riff on patterns found in mechanically created assemblies. The starting point of Structures is a galvanized iron (GI) sheet—a ubiquitous roofing material in developing countries—that Santos has distorted, warped, and bent to his will.
Four twisted sheets lie on the gallery floor at the feet of a diptych, two square canvases that have been tilted and angled as a reference to construction poster boards, prefabricated tin tabernacles, and provisional lean-to shelters. The strength of Santos’s technique is evident in the three-dimensional quality of his work: the texture, metallic sheen, and rippling surface of the GI sheets are depicted in
AESTHETICS :
Luis Santos Structures oil on canvas, corrugated metal sheets mounted on wooden panel, corrugated metal sheets on wooden pallet. 60.03 x 120.27 in or 152.5 x 305.5 cm | 59.65 x 31.1 x 15.55 in or 151.5 x 79 x 39.5 cm | 113.38 x 31.10 in or 288 x 79 cm 2013
About The Tin Tabernacle of Luis Santos,
The urban vernacular landscape is built from corrugated GI sheets and concrete; its architectural philosophy, expressed by maximizing minimal spaces and improvising. Luis Santos takes the visual language of the streets into the gallery with Structures, his fourth solo exhibition. Born from his interest in random abstract forms, the show is a riff on patterns found in mechanically created assemblies. The starting point of Structures is a galvanized iron (GI) sheet—a ubiquitous roofing material in developing countries—that Santos has distorted, warped, and bent to his will.
Four twisted sheets lie on the gallery floor at the feet of a diptych, two square canvases that have been tilted and angled as a reference to construction poster boards, prefabricated tin tabernacles, and provisional lean-to shelters. The strength of Santos’s technique is evident in the three-dimensional quality of his work: the texture, metallic sheen, and rippling surface of the GI sheets are depicted in