Artist’s Spotlight

Pandy Aviado

Artist

The Imahica Art Team sat down with one of the gallery’s featured artists, Pandy Aviado. Primarily known for his printmaking work, Pandy Aviado offers us a look into a different side of himself in this exclusive collection from the 1980s.

The Imahica Art Team sat down with one of the gallery’s featured artists, Pandy Aviado. Primarily known for his printmaking work, Pandy Aviado offers us a look into a different side of himself in this exclusive collection from the 1980s.

Freedom in Art

Stemming from a desire to create “something you haven’t seen before,” these and other works serve as a Rorschach test for the viewer. Pandy Aviado and (forthcoming) National Artist, Rolando Tinio, collaborated on Women Who Write With Their Feet, so titled in response to Tinio’s sentiment that the piece is a metaphor for the creative genius of women, such that they could even “write with their feet.” In an almost trance-like state, he melded creatures and objects (both organic and inorganic).

Regarding his technique, he began with charcoal to emulate lithographs. To further add to its aged look, he utilized cracked textures and rich, earthy tones.

Creative Macrocosm

What makes these works different from his previous and more recent artworks is that they reflect another aspect of himself and his art. “They’re different, like how my fingers are different,” he mused. Each piece is simply a detail in the big picture of his art. Additionally, these pieces are free from the usual constraints/influences (e.g., commission work), allowing him to simply let his subconscious flow onto the paper.

Neverending Inspiration

Despite taking 10 years to complete, he still regards these and other pieces as ongoing, serving as drafts for later works or having aspects added to them. What keeps him motivated to create is art’s ability to “heal memories” and invigorate. It’s a continuous cycle that sustains him to make piece after piece. According to him, he’ll make art as long as he’s able, always improving.