Patty Eustaquio

            Patricia Perez-Eustaquio (born 1977 in Cebu, Philippines) is noted for her work in a variety of mediums and disciplines, including painting, drawing, and sculpture, as well as fashion, décor, and craft. Her persistent study of themes around the integrity of appearances and the vanity of objects reconciles these transitional forms. Images of waste, carcasses, and decay are woven into design, craft, and fashion, fusing the disparate traits of the marginalized and marginalized with the celebrated and wanted. Her wrought objects — ranging from furniture, textile, brass, and glasswork in manufactured environments — also demonstrate these contrasting sensibilities and provide commentary on the mutability of perception, as well as on the constructs of desirability, according to Eustaquio.

            Patricia Perez Eustaquio's practice is built on a foundation of sculpture and installation. Fabrics, lace, resin, cardboard, wood, rattan brass, and glass are among the materials she uses. Psychogenic Fugue (2008) and The Sprinkling and the Pall were among Eustaquio's first sculptures (2008). Eustaquio encases everyday objects in silk or lace, then covers the folds in resin before removing the original to produce a ghostly, shell-like appearance. 'Endless Summer' (2020) and 'Figure Babel' (2019) are two more series that continue to explore mixed-media textile shapes.

            The paintings of Patricia Perez Eustaquio go beyond the square pictorial frame. Patricia Perez Eustaquio's semi-abstract paintings depict forgotten subjects, debris, and rotting artifacts. As a result, they serve as an investigative re-visitation of the still-life painting genre, which is sometimes derided in the fine arts as the domain of 'Sunday painters.' Eustaquio displayed a series of graphite drawings with traces of gold leaf for her 2016 show Black Dust at Tyler Rollins Fine Art in New York. The textures and forms of the withered flowers and coagulated paint that had amassed in the artist's workshop are referenced in these photographs by the rock-like formations. Eustaquio's paintings, whether depicting flowers, a dead bird, or slices of meat, resemble shadows or fragments, expressing the nature of memory and object perception.

            Patricia Perez Eustaquio, a recipient of The Cultural Center of the Philippines' Thirteen Artists Awards, has also received international attention through residencies at Art Omi in New York and Stichting Id11 in the Netherlands. She has also participated in a number of noteworthy shows, including The Vexed Contemporary at the Museum of Contemporary Art and Design in Manila, That Mountain is Coming at the Palais de Tokyo in Paris, France, and An Atlas of Mirrors at the Singapore Biennale in 2016.


Death of Magellan (After Amorsolo) (2019)

An Unraveling (Conversation Among Ruins, After Amorsolo) (2019)

Boom VII (2021)

Untitled (Flowers for, Il) (2021)

Shamanisms (drawing I) (2018)

The Future That Was (Reflections) (2013)

Flowers for X, I (2016)

Endless Summer (2020)

That Mountain is Coming (2016)


Reference:
https://www.silverlensgalleries.com/artists/patricia-perez-eustaquio 
https://ocula.com/artists/patricia-perez-eustaquio/ 

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