Life as i know it2


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Life as i know it2

  2. 2. Life As I Know It Noel Ed de Leon Photography Noel Ed de Leon Descriptions produced together with Katrina Cruz Genevieve Schwartz STRICLTY CONFIDENTIAL 2
  3. 3. “Life As I Know It” began to evolve soon after I started my own family. Together with my loving and understanding wife, I experienced both happiness and hardship trying to work and raise our children in thiscountry. I don’t have anything except from them, my family, which I called my own. It has been quite a while since I started to collect antiques and vintagememorabilia (otherwise known as ‘found objects’). I found them as goodpieces of art, and I take an interest in military history and objects. You willnotice that found objects feature prominently throughout the exhibition. What material I used in general, inherits and expresses the conditions of how we have coped as a family.This exhibition is my way of sharing my passion of being a family man and an artist. I take this opportunity to show you what I feel and who I am. I am Noel Ed De Leon. Filipino Artist and family man for a lifetime. STRICLTY CONFIDENTIAL 3
  4. 4. The Sunflower2010Acrylic paint, mixed media on canvas100cm x 100cmDespite the regulations and restrictions (symbolised by impaired sight and voice), which hinder atpresent the strength and confidence to express one’s self, a vision of a brighter tomorrowprevails. STRICLTY CONFIDENTIAL 4
  5. 5. Boundaries of Time2010Acrylic on canvas100cm x 100cmThe intermittent development of this artwork is exemplified in the block areas of blue, black andgrey. Art is constrained and not enriched by time and money; the artist used the only paints thathe had left or could afford to buy. The obligation to earn and work consumes life as he knows it:both hindering and defining the progression of his thoughts and impulses. STRICLTY CONFIDENTIAL 5
  6. 6. Balance2010Acrylic on canvas100cm x 100cmA quest of achieving balance permeates all areas of life: family, friendships, religion and theenvironment. Striving for balance to avoid emotions of over-indulgence, defeat and weariness.“…yellow means hope and the white is peace of mind.” The red and green colours bleeduncontrollably across the measured and consistent pattern of the yellow and white – animbalance . STRICLTY CONFIDENTIAL 6
  7. 7. Daydream2011Acrylic on canvas100cm x 100cmOn the bus, in the train, even while walking. We dream about a lot of things: the future successesof our children, to travel around the world with our loved one, leading a good and untainted life.“I wake up from my daydreams and realise that I am not walking on land I can (not yet) call myown, and I am missing my family back home.”Daydreams are the ethereal projections of our hopes and our visions of the day when we canfinally share our successes with our loved ones. STRICLTY CONFIDENTIAL 7
  8. 8. Ambitious Words2011Acrylic on canvas100cm x 100cmThe layering of shades and lines is a symbolic ‘dulling’ superimposition of the obligations of thepresent time on the bright ambitions and visions of the future. STRICLTY CONFIDENTIAL 8
  9. 9. Everyday Life2011Acrylic on canvas100cm x 100cm“All things are limited.” The everyday routine of constant interruptions hindered the progressionof this artwork; the artist himself was limited in choices of paints he could use too. This isconveyed through the composition’s patchy constellation and distribution of colours. STRICLTY CONFIDENTIAL 9
  10. 10. I Am a Filipino2011Mixed media on canvas and booksA statement on the conditions of an irregular identity. The experience of being a Filipino is never awholesome one. There are constant moments of disorientation, confusion and feeling apart andother. STRICLTY CONFIDENTIAL 10
  11. 11. Life2011Acrylic on canvas100cm x 100cmPart One of Series ‘Lifetime’. A representation of confusion about where to start or where to go.The black lines are symbolic of the uncontrollable nature of life.The artist hoped to used circles instead of squares. But he thought block shapes and lines weremore appropriate. STRICLTY CONFIDENTIAL 11
  12. 12. Time2011Acrylic on canvas100cm x 100cmPart Two of Series ‘Lifetime’. An optimistic progression from ‘Life’, which expresses a better senseof clarity, coordination and continuity.The shapes outline a man lying horizontally. The constant anxiety of deciding upon the ‘right’direction in life is ever-present. STRICLTY CONFIDENTIAL 12
  13. 13. Título 
2011Acrylic on canvas100cm x 100cmTitle and Entitlement:
1.) An academic degree not yet been put to use or practice
2.) A good career that has been set aside.
3.) Citizenship yet to be legalised.The colours are enclosed within the lines just as the artist feels barred and held back intellectuallyand professionally.
  14. 14. Land of the Giants
2011Metal sculpture, toy soldier, mod rocA message that communicates alienation, intimidation and inequality. Though despite the adverseimplications, the artist also expresses feeling “…lucky. Lucky, to be living in this country, the land ofkind, intelligent, ‘tall’ people.” STRICLTY CONFIDENTIAL 14
  15. 15. I Tell You My Story2011Mixed media on board, ceramic wheel, metal gas pipe, glass bottles, mod rocThe bottles serve as the symbols of every Filipino story. Stories that they gather to hear about andshare among each other. The bottles are dressed in white to reflect their stories are akin. Thiskinship bears the root to the community that strengthens with each storyteller and listener thatjoins. STRICLTY CONFIDENTIAL 15
  16. 16. Noxious2011Mixed media on board, gas mask, vintage pulley, string55x55cmThe irony that an apparatus used to facilitate breathing, makes us simultaneously feel anxiety,discomfort and suffocation. This emblematic work relates the artist’s experience of moving to theUK and adapting to his new surroundings. STRICLTY CONFIDENTIAL 16
  17. 17. Go With the Flow2011Metal helmets, shower gel, mouthwash, water with fish, coffee, tea, milk, chocolate drink, coke, lemonade, orangesoda, Sprite, red wine, white wine, beer, whiskey, cooking oil, vinegar, soy sauce430cm x 35cmReinforcing the message to follow the pace of life as it comes and not to over-complicate things; acommonly-known, yet internal and daily struggle. The artist utilises military helmets here forpragmatic reasons and because of their association with protection and survival. STRICLTY CONFIDENTIAL 17
  18. 18. Water2011Military water container (stainless steel and aluminum), mess kit, booksPart 1 of ‘Elements’ series. Precious, limited and measured - Earth’s resource and source of life.Images of war and composition of military paraphernalia induces the memories of World War II,the arrival of the Americans and General MacArthur on water – a historic image which symbolisedthe Philippines’ imminent emancipation from Japanese occupation. STRICLTY CONFIDENTIAL 18
  19. 19. Earth2011Military folding bed, soil, plants, artificial skull, leather boots, glass bottle, ammunition shells77x200cmPart 2 of ‘Elements’ series. The exploration of the imminent phenomena of life and death: how anold military folding bed can support life - as the skull also is a remnant of a physical human life -even though its immediate connotations are with death. STRICLTY CONFIDENTIAL 19
  20. 20. Fire2011Vintage blowtorch, vintage carbite miner’s lamp, portable stove from World War II, compass, barometer, ammeterPart 3 of ‘Elements’ Series. Fire, one of the quintessential keys to survival. The precarious natureof this piece represents how the ‘Elements’ hold our position on earth in balance. STRICLTY CONFIDENTIAL 20
  21. 21. Diyos Ko (My God)2011Vintage weighing scale, rosary necklace, candles, wooden cross with plastic, coins, calculator, rice grains, potatoes,framed picture.A commentary on cultural symbolism of everyday objects, perceived hierarchical powers andsociety’s similar treatment of religion and the monarchy in relation to the objects according to theartist – a foreigner to a society comparatively more secular. The confusion culminates in theaudible overlapping of musical compositions ‘Zadok the Priest’ (Handel), the Coronation Anthemand ‘Angelus’ - Orasyon in Tagalog (Filipino). STRICLTY CONFIDENTIAL 21
  22. 22. Self-Portrait2011Painting, framed picture, chair, spot light, rubber mice, gas mask‘Self-Portrait’ confronts the everyday challenges of devoting your life to art. In this piece, the artistconsiders the example he is setting for his children by becoming an artist. He does not want hissons to struggle the way that he has. “I imagine myself on the chair, naked, wearing the gasmask…it’s the good, the bad and the ugly”.The artist invites to interact with this composition, to take a photo participating in an act of self-reflection. STRICLTY CONFIDENTIAL 22
  23. 23. Pull me up
2011Pulley (wood and metal), rope, locking karabiner, metal containerThe life of the Filipino is constituted by the helping hands of their fellow Filipinos who pull themup from below. The container is symbolic of the burden of responsibilities and/or the dreams of a‘better life’ which Filipinos carry with them wherever they go. The installation is a physicalvisualisation of an attempt to escape ‘crab’ mentality, that is of never moving forward. A positiveobservation (although it is tainted with some negative connotations) about cultural solidarity. STRICLTY CONFIDENTIAL 23
  24. 24. Time in a Battle2011Vintage wine bottle, glass jar, wood level, vintage pocket watch, plastic scaleThe illusion of Time contained. Time, the centre of our energy and efforts, the positive and thenegative. It is not Time that struggles with us, it is what we struggle to hold onto, what we dependon the most. STRICLTY CONFIDENTIAL 24
  25. 25. Age of Enlightenment
2011Buddha head, mod roc, railway lamp, old metal box, high chair, lighth:110 x l:56 x w:56cmA reflection of the artist’s own personal Age of Enlightenment; his own exploration of the legacyof idols through time in both Eastern and Western (English) society. The artist explains with thestatue of the Buddha that despite its physical disfigurement – the belief in the thing itself alwaysprevails. STRICLTY CONFIDENTIAL 25
  26. 26. Cycle of Mind 
2011Bicycle, toy bicycle, mod rocThis piece equates the nature of human ambition to the nature of a bike; built with the purpose toalways move forwards. This found object, though it proved to be functional still, was located at adumpster. The artist comments on how it is easy to get lost along the way, to lose the sense ofdirection. STRICLTY CONFIDENTIAL 26
  27. 27. Kayad Kabayo (Working Life a Horse)2011Kick scooter, child’s bicycle, rocking horse, children’s artworks, shoes, road signPairs of shoes worn day-to-day, laid out one pair in front of the other: a representation of theperpetuating, recycled routine of daily life. STRICLTY CONFIDENTIAL 27
  28. 28. Untitled2011Acrylic on canvas100cm x 100cmThis piece seeks to explore the artists ‘self’. Amongst the midst of bold, rapidly produced lines andshapes appears the clearest of all the elements of the painting - the word ‘ME’ highlighted by alarge yellow arrow. With the rest still rendered unfocussed and unclear, the artist renders hisjourney of self-discovery still incomplete. STRICLTY CONFIDENTIAL 28