Blanc Gallery- Just a bit of rain (Philippines)
Embedded Files
How does one begin to know what art is? The answers would be as different as we could imagine. Just a Bit of Rain is Alburoto’s exhibition where he permits such an interrogation — one that examines art’s intersection with personal history. Paintings and their accompanying sculptures are fashioned from the artist’s engagement with memory, specifically from the time period of adolescence up to now, in a final attitude of acceptance of the cards that he has been dealt.
Artery Art Space- The Garden of Id (Philippines)
Artery Art Space presents Garden of Id, a solo exhibition by Alburoto, where the artist reflects on the pall of predestination as it weighs upon individual will and nature as represented through a diverse group of paintings, drawings, mixed media, and sculptures, which allows the artist’s cheeky low-brow aesthetic to critique and cut down cultural conventionality and other philosophical quagmire.
Alburoto of Id traces the conflict between nature and culture, where the instinctive - epitomized by artistic will, collides with social convention. Through painting, collage, charcoal, sculpture, and the recurring figure by Alburoto, the artist stages the tension between irony and taste. Echoing the choice made by our biblical progenitors Adam and Eve, the works ask whether cycles of struggle must be repeated, or if life may instead flow unburdened. In this Garden of Identities, branching or solitary, the question remains open: the kind of life we wish to cultivate, or rather, to plant those seeds that may be worthy of life.
Bunso Gallery- In doubt, We trust (Philippines)
The Elastic Twenties
“But I, alas, do not know how to see sheep through the walls of boxes. Perhaps I am a little like the grown-ups. I have had to grow old.”
― Antoine de Saint-Exupéry, The Little Prince
Just like how fairy tales place importance on a specific age in order for something magical to happen, the full blossom of adulthood takes place on one’s 25th year. It is in this fateful year that the average brain’s frontal lobe becomes fully developed, and people report feeling that everything falls into place… or do they?
In Doubt, We Trust is an ode to the new chapter mostly marked by independence, but also the gravitas of responsibility. Alburoto sets his sight upon the travails of the life of a twenty something with his narrative approach to painting and sculpture.
Old Stuff sets the tone with a young man finding it difficult to pull on the staff of Hermes. Juxtaposing the image of the caduceus, which also symbolizes health, with the Arthurian legend of the Sword in the Stone, Alburoto illustrates the weight of following in the footsteps of our elders. Being attuned to generational and global changes, it’s also a question of the future longevity of young adults.
The anxiety builds up in Pressure Pleasure, but it reminds us that the physical response to it needn’t be grave. As the quarter-life crisis descends upon us, we often seek refuge in distraction to avoid the mounting stress. Alburoto jests, “After all, as we age, we become increasingly dependent "as we edge", and that’s the inevitable byproduct of pressure.”
Umbrella Knights depicts a couple on the back of their mechanical steed, driving onwards despite the uncomfortable pitter-patter of rain. For the artist, it “explores the endless cycle of desire—how we attain what we want, only to crave more as convenience and shifting interests fuel new pursuits.”
Marriage and building a life together becomes the subject of Keys the Bribe. In previous decades, men would be the sole providers of a white picket fence in the suburbs, but even with the popularity of equal partnerships now, that dream would take even longer to realize because of inflated prices of housing, food, and utilities. Pay Away emphasizes this sentiment further as a straightforward image of bills with wings, signifying the same amount of money being able to provide less than before.
Fight for Flight presents the dilemma of the choice between going on a leisure trip or saving money. It’s a stark reminder that even a momentary escape from our troubles has a slim chance of happening or not biting us back later.
First Born Strain is a communal bathroom scenario that takes a disillusioned look at the Filipino nuclear family. A set of parents dote on a young child, while a brother works even while inside. Alburoto draws experience from being an elder sibling and young breadwinner, one of many who lament the flawed logic that the first few children should provide for everyone, which is usually accompanied by the fact that parents of big families do not have their own savings.
The epoxy sculpture, Stretched, mirrors his thoughts on becoming an adult, where it is “not totally growing, but stretching yourself out”.
Alburoto rounds it all up with In God We Trust , a saying he gets to play with for the title of the show. Despite the weary scope of his works, holding onto faith in hard times is a must for him, and the same belief shows in the facades of many other Filipino homes as well. He concludes it by saying, “That mindset is a beautiful part of our culture. It reminds us we’re never truly alone and always have a helping hand.” For an artist often armed with cheekiness and irreverence—utilizing the appeal of a sense of never fading youth—this collection of the burdens of adulthood becomes all too sobering.
Text by SC
Starting a new year feels like jumping off a cliff. You have no idea what you're getting yourself into. Is the water deep enough, or will it break my back when my body slams into the vast body of water? Or will I gasp for air, unable to breathe, and not even feel the water? One thing is for sure: you have to try. Let yourself feel its warmth or coldness, even taste it, so you can understand what it's worth.
-Regina Llanilo
secretfresh gallery- Something stupid (Philippines)
In an attempt to shed light on unique ideas, artists have this itch to leave an impression and to create connections. Sometimes it's in the loud, screaming colors that provoke underlying complexities, or in the medium of unfamiliar hues in expressing their own concepts and emotions. Leaning toward another approach, for Alburoto, sometimes there is beauty in letting things be—to have no specific rationality, to not make sense at all. To let others find it relatable, meaningful, or just plainly stupid on their own.
"Something Stupid" by Alburoto mirrored his current intrusive thoughts. He allowed himself to create without the pressure of providing distinct meaning to his artwork. Being artistic himself, the product seemed to be organized chaos that formed something valuable, even without conforming to a genre or a theme at the time of his expression. It's as if, unknowingly, his scattered thoughts gave birth to shared meanings and seamlessly created a trope derived from one artwork to another. In the eyes of a spectator, what seems "stupid" to him is not stupid at all.
Needless to say, if there's one thing that he's trying to convey, it's that having limitless subjects or techniques for creating these pieces in no particular theme has given his audience all the more power to derive meaning from an outside perspective. It's in his meek, quiet, unbiased mindset of creation that lets his artworks be interpreted as loudly by whoever finds them not "stupid", but actually sensible.
-Regina llanilo
village art gallery- Xeno files (Philippines)
Xeno Files by Alburoto is an exhibit that delves into the intriguing concept of Xenophilia, exploring how it can be both intimidating and freeing. It presents Xenophilia as daunting because it celebrates diverse ways of upbringing, culture, and heritage that may seem unfamiliar or unconventional. However, it also portrays Xenophilia as liberating because it openly embraces and values this diversity.
Moreover, the exhibition highlights how Xenophilia is viewed critically by those who belong to the same group but perceive the ‘aliens’ with misunderstanding and judgment. These ‘aliens’ are depicted as individuals who have lost touch with their own identity and origins, mimicking the behaviors of ‘humans’ who, despite recognizing their alien nature, remain accepting and tolerant. Alburoto’s perspective suggests that the distinction between ‘us’ and ‘them’ is thin and perhaps nonexistent.
According to Alburoto, everyone experiences diversity, and in the eyes of others, each person can be seen as an ‘alien’ in unfamiliar territory.
Ultimately, Xeno Files invites us to embrace the beautiful complexity of our differences, recognizing that every encounter with the ‘alien’ is an opportunity for mutual understanding and connection in our shared collective journey.
-regina llanilo
superduper gallery-Team building (Philippines)
Alburoto's journey into creating his gallery in a rustic environment was a deeply transformative experience. As he watched the craftsmen laboring tirelessly to build what would become a sanctuary for countless masterpieces, he couldn't help but marvel at the irony of their situation. These craftsmen, perhaps unaware of the artistic significance their work would hold, were unknowingly contributing to the very essence of art itself.
For many artists, the concept of a structure can be daunting, as it might seem to limit their creative freedom. The fear of being confined within a single pattern can indeed be suffocating. However, Alburoto saw beyond this potential constraint. He recognized that the structure could also be seen as a symbol of teamwork.
Moreover, the revelation for Alburoto was that structure provided a framework within which creativity could flourish and be showcased. He further understood that the very essence of art lay not only in its individual pieces but also in the connections and relationships formed between them, just as the craftsmen, through their combined efforts, were giving life to his vision.
In this rustic environment, Alburoto did not only built a physical gallery but also cultivated a deeper appreciation for the intertwined nature of creativity, structure, and collaboration. He understood that true artistry could thrive within the boundaries of a well-crafted framework, and that, in the end, it was the collective spirit of creation that truly mattered.
-regina llanilo
19karen Gallery- Brutal scenes (Australia)
Over the course of time, the realm of art has undergone a metamorphosis, giving birth to a myriad of unique movements and styles. Similarly, the artists themselves have embarked on an ever-evolving journey, with some blessed souls destined to submit to their artistic calling effortlessly, while others find their creative flow impeded by the weight of financial constraints, inequality, and the eyes of people not recognizing each art's beauty.
Art enthusiasts themselves are familiar with this, often finding it challenging to distinguish between techniques that appear similar in a market that tolerates imitation and undermines the artist's intended significance. Therefore, at the end of the day, the real struggle is no longer at the competition among artists. It's in the artists blocked by chances and opportunities. It's in the artists watching their brushes burn in unfulfilled living.
Entitled "Brutal Scenes", Alburoto's exhibit in 19karengallery in Queensland, Australia on July 15, 2023, the artist himself showed how diverse ways of art such as conceptual art, sculpture, painting, photography, fashion, and graffiti can all end up in the same brutal reality.
-Regina llanilo
vinyl on vinyl- Down the Rabbit hole (Philippines)
When Alice fell down the hole, she bumped her head and bruised her soul.
As the new year unfolds, we indulge in new chapters of hope. Prolonging optimism and leaving the dark times behind are good things, but do we really get past the shackles of bad habits? Or do we simply leave our peace to the lucky rabbits?
Down the Rabbit Hole, an exhibit by Aldrin Cajulis Tamidles exemplifies both the beauty and the ugly, the in-betweens of embarking on a new journey. The artist conveyed the euphemism in a once chaotic pandemic world that is renewed through the unwavering urge to evolve, make space for the things that help people live longer, and bury the things that have the potential to leave one's soul spiraling into the unknown. The exhibit leaves one wondering whether each new year’s resolution sustains blessings or simply nurtures more chaos.
-regina llanilo
ccgallery- Unluck (Taiwan)
The show invites you to explore a perspective shaped by pessimism, escapism, and free-thinking. It encourages you to embrace exaggerated thought patterns as a tool to navigate difficult situations and defuse negative emotions. By reframing challenges, you can soften their impact and find a sense of balance, even in unfavorable moments.
This approach offers a practical defense mechanism, helping you manage anger and reduce unhappiness, while providing a thoughtful lens to process life’s complexities.
Let's talk like we're friends
This exhibition translates nostalgic scenes from my life experiences into puzzle pieces that hold stories of varying tones from my day-to-day life. By sharing these stories with those around me, the show serves as a pathway to self-discovery and a fundamental part of my creative development.
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