Alee Garibay’s As It Is…
In the years since I began writing about the painting practice of Alee Garibay, her work has drastically shifted from the abstract to the unmistakably concrete and personal, with this show as no exception; yet, the same cannot be said for the horizon of her concerns, which continue to grasp for the universal. The layer of text that has become characteristic of her paintings is noticeably absent from this series – perhaps rendered superfluous by the scale and intricacy with which she attempts to recover the coherence of a life that could so easily be dismissed as random or accidental.
With As It Is…, Garibay reframes the everyday, reclaiming the banality that allows it to be swept aside or cast off. The work documents a brief period of perpetual motion, living between home and studio or hosted by old friends. Ironically, this “semi-nomadic” lifestyle also allowed her to more closely observe the personal as well as the general conditions of domestic space–or a lack thereof. Movement is crucial to the work, in that the series narrates a period in Garibay’s life wherein home was not necessarily a place, but a verb.
This is often joked about as a symptom of “trying to find oneself” – a state bearing the same damning diagnosis of narcissism that this generation has become accustomed to; but what we can choose to see instead upon peering into these works is a recovery of the poetics of noticing – or The Everyday (2). The very phrase As It Is… references this political and artistic movement originating from the 1960’s avant-garde, one that involved “the embrace of the ordinary” and “a lyrical appreciation of the small, simple, and ephemeral things in life…” The aimlessness and “deliberate strategy of boredom” evident in the aesthetics of The Everyday, however, are contradicted by Garibay when asked about how she portrays the subject.
“There’s an impetus for clarity and form, for ‘refining’ the concept of self,” she explains. Indeed, the spaces that turn up in this series are intimate, recalled photographically yet hazy with nostalgia. There is a voyeuristic quality in the (re-)composition and recollection of the rooms and unmade beds that have thus far prevented Garibay from drifting off into full-blown aimlessness. Her titles as well testify to an acknowledgement that these states are fleeting but necessary, as in Overnight or Abang (tr. “to wait”); and despite the time spent or lost, they may be for the better, as in Sanktwaryo (sanctuary) or Pahinga (tr. “to rest”)(1). The figures in Bantay and Paanyaya elevate the series to a spiritual level, implying how every act of exploration or self-care is also a matter of acting upon faith.
In “Clearing the Ground” (1961), Henri Lefebvre wrote that “it is in everyday life and starting from everyday life that genuine creations are achieved, those creations which produce the human and which men produce as part of the process of becoming human: works of creativity (3).” Through painting, As It Is… moves beyond autobiography, offering a deliberate and meditative observation of what has otherwise been rendered invisible by ubiquity. By re-stating and reclaiming a slice of life “As it is,” we are thus invited to look harder.
(1) Note: This is not Garibay’s first time to intimately render domestic space; the subject was integral to her contribution to Kapitbahay – a two-man show with Renz Baluyot, also shown at Art Verite.
(2) Sally Banes (1993). “Equality Celebrates the Ordinary,” in Documents of Contemporary Art: The Everyday, edited by Stephen Johnstone. Cambridge, MA: The MIT Press, 2008. p. 114.
(3) Henri Lefebvre (1961). “Clearing the Ground” in Documents of Contemporary Art: The Everyday, edited by Stephen Johnstone. Cambridge, MA: The MIT Press, 2008. p. 31.