R.W. & Joyce Witt Gallery: Keith LaPuz, Ako'y Pinagpala
From February 27th to March 1st
Reception February 29, 2024
Ako'y Pinagpala, meaning "I am blessed," adorned the entrance wall, greeting visitors for Keith LaPuz's student show in the R.W. & Joyce Witt Gallery at California State University Sacramento State.
LaPuz's show contained work that displayed an interesting mixture of varying motifs presented through oil paintings and collage-like stylization. The imagery within this show utilized an intriguing variety of pop iconography, renaissance imagery, catholic symbolism, and self-insertion. LaPuz shared with me that, the combinations of motifs in his works serve as a way to show his versatility as an artist. "The way I combine these different styles or as I would call it “artistic lexicon” helps me push and command space however I please, giving my pieces a sense of freedom." LaPuz's representation of the intersections found within his culture and personal identity gave a refreshing view of experiences and emotions that many may find to be relatable.
The phrase “Sa Oras Ng Kahirapan,” translating to “During Hard Times,” was also painted onto the wall. A karaoke station was set below it. The phrase serves relevance within the show as an introduction to the artist's “coping” pieces. "It illustrates what we do during hard times," says LaPuz.
The Karaoke was set up in the show during the reception to "...Go full Filipino..." according to the artist. It was a fun twist to a gallery exhibition that I had never before seen done in the Witt Gallery. This type of interaction and involvement helped to create a vivacious and lighthearted feeling for participants. This, in combination with a plentiful selection of authentic Filipino foods provided to visitors during the reception, created a bright atmosphere in appreciation for LaPuz's vivid pieces adorning the gallery walls while sharing pride in his culture.
The University Galleries Instagram described his show as “encapsulating his experiences with culture, religion, and different ways of coping.” I asked the artist if he could elaborate on what they meant by “ways of coping” and whether the scale of that idea was more individual or communal. He responded that the “ways of coping” are a mixture of personal and communal ideas that he tries to incorporate into his work. By asking around, he included ways of coping that he and those around him personally partake in such as smoking weed, drinking, gymming, etc. "I tried to learn other ways people coped in general, I asked people around to give ideas."
The imagery found in it's okay to cry. reminded me of the famous image of La Pieta. It made me wonder more about the relevance of European/Catholic imagery. When asked if the show had to do with the Philippines' history of dealing with colonialism, the artist shared that the main way his show connected with the idea of colonialism was through the highlight piece “Ako’y Pinagpala.”
Ako’y Pinagpala is the artist's favorite piece as it expresses both his experience growing up in the Philippines and how he internalized that experience as an adult in America. He took many risks and faced much frustration during the artistic process from "...scratching ideas, rebuilding composition, to changing how I view paintings." He states "...this work has taught me so much and I would consider it one of my few breakthrough works. Also, If we’re speaking from a technical standpoint, I believe the piece pushes space and intertwines my collage style leagues ahead of any of my other work. I decided that I would name the show “Ako’y Pinagpala” because I wanted to convey the heavy topics I touch upon with my body of work, and how I believe that I am blessed to be able to express myself and share these ideas with everyone. I also wanted to express that even though I have faced numerous adversity in my life, I am still blessed to survive another day, it helps me reflect on how I’ve come as a person and as an artist."
The artist repurposed contemporary pop imagery such as minions, Pikachu, Jake the Dog, and the Apple logo. A combination of interesting motifs that encapsulate LaPuz's experiences, contemporary Filipino culture, and reflections on endurance after colonialism.
I was curious about LaPuz's purpose in utilizing Eurocentric figures and symbols in his work, such as in it’s okay to cry, Product of Sin, a p p l e., etc. I asked him if he views the imagery as a type of repurposing or appropriation by the Filipino community to reclaim power over colonialism, or if he potentially views it as an integral part of the contemporary Filipino culture.
LaPuz views the Eurocentric figures and symbols in his work as tools for visual interest, and sees them as "one of the most popular things people associate with when it comes to art." I believe this to be true, especially within Western audiences. "Of course, I try to use it in such a manner that works with the ideas I’m trying to express. I like how you interpret my use of Eurocentric symbolism as a way to reclaim power over colonialism, but I have never really thought about it that way, I kind of just utilize it as a way to expand my versatility and get most of my religious ideas across to the viewers."
When talking about the baby in Product of Sin, LaPuz emphasized that the hand gesture of the baby sells the idea of his innocence. The baby's identity is important in a narrative that contrasts his devilish horns and innocent depiction. "I will not try to explain too much about what I wanted the painting is trying express from my perspective, but a good hint is looking at those narrative contrasts and the title of the piece." I believe Product of Sin to be the most narratively straightforward use of figuration within the show, however other viewers and the artist himself may disagree.
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