Junyee: Dealing with dark matter

Manila, Philippines -  The local art scene has been thriving of late. This year alone, dozens of art shows all over the metro are continually being held and not all have even been documented. One can casually say that it is turning out to be a good year for Philippine art so far. ?But, in terms of quality or integrity, one might have to rethink the art situation.

Perception and discernment toward what is good and substantial, and for that matter, what is marketable and safe, are blurred by the illusion of quantity and even “shock value.” However, it is not difficult to see where the differences are if you consciously perceive and differentiate  not just look.  

One such exhibit that stands out in 2012 showcases the captivating art of Junyee.

There is a feeling of excitement upon entering the gallery, not knowing exactly what to expect. Save for the sheer rawness and honesty of material and artist intertwined, Junyee created his forms out of soot. Literally, he held an open gas lamp and guided a lit wick at a studied distance to create form on the canvas. To perform this feat, he

“Wormhole,” soot and paint on board, 2012

prepared himself to lie down on a low bunk and had the canvas floating over him, hanging upside down.

My initial impression of his exhibit “Dark Matter” was based on the material. Soot, distinguishably produces the deepest perceptible black to the human eye. In the visual arts, especially classical painting, black is avoided because it is not considered a color but rather an empty space. Therefore this “darkness” naturally gears the mind toward the unknown. But I will leave the dark matter theories and their manifold meanings to the astrophysicists. I would instead piece together my spontaneous thoughts based on feel and my uncomplicated understanding of the universe.

Dark matter hypothetically constitutes a large part of the universe, yet even the most powerful microscope cannot see it. Nonetheless, its presence is evidenced by how it plays a role in the gravitational pull of objects in outer space. In a way, one can also perceive dark matter to be like an idea, which can exist without necessarily being tangible.

Soot memories: Junyee makes art with soot. Like the lamp he uses to create his works, the flame of inspiration transposes an existing idea into something physical.

This makes the metaphysical implications of Junyee’s process all the more intriguing. Like the lamp he uses to create his works, the flame of inspiration transposes an existing idea into something physical. The ritual process he undergoes in creating his black forms reminds us of this. Furthermore, in correlation with the classical standpoint of black not being a color, we see a logical yet physical translation of empty space through both subject and composition.

Enigmatic is one word that easily applies to the emotion brought forth by the blackness of it all.  Surrounded by large (with few medium-size) frames in the pristine walls of Galleria Duemila, the mood stirs the senses to the floating forms that appear to portray a mysterious presence coming out of nowhere. Subsequently, each piece pulls you nearer and charms the eyes toward its finer details.  

“These impressions came from very fine abaca fiber I got from Boracay,” Junyee explained.  After intense scrutiny of the fibrous shapes, the mind is led back to the fact that to venture into such a meticulous art creating process, the artist must be one of firm mind and body  enveloped in perseverance.

The titles connote the eternally changing structures and living elements of nature and the universe.  They typify the consistency of an artist whose beginnings made a trademark in creating art out of pure and natural materials.

Junyee’s 1976 outdoor installation at Luneta Park was the Philippines’ first.

So pure, in fact, that it brings me back to a few of his early works that found their way into the homes of friends and avid collectors. These pieces came from large installations (which the artist also pioneered in the country) dating back to the 1970s where keen admirers simply embraced them and insisted to have them in their homes. 

Totally made from found things from the forest, they were properly warned of the possibility of falling parts and other forms of disintegration. However, even if they were quite aware of their impermanence, they still enjoyed them while they lasted. To Junyee, that simply showed that we live in an ever-changing world and that nothing on earth is permanent. These artworks nonetheless created a visual memory for these avid collectors to fondly recall at their leisure.

As form is the external manifestation of the inner self, Junyee’s artistic expression verifies his artistic trademark of oneness with nature. Nothing pompous, nothing loud, Junyee simply seeks a little silence to be with you through his work that speaks of an authentic spirit.