A woman artist’s evolution
For her first three shows, Kara Pangilinan had to do it the old-fashioned way, approaching galleries and presenting a complete collection of artworks, hoping that they would be able to calendar her for an exhibit that would last two weeks to a month at most.
Factors a gallery will need to consider include the quality and the marketability of the art and, as in most cases nowadays, of the artist.
In those three shows, Pangilinan clearly proved her mettle. Her art began to evolve into something more than what it was when she was simply drawing black and white linescapes on notebooks, denim jackets, shoes, guitars, and helmets, before venturing into painting murals.
Pangilinan experienced a first for her fourth solo show when she received an invitation to hold an exhibition by Gallery C at Conrad Manila as part of its “Of Art and Wine” series. “Woman In Progress,” a collection of 29 highly detailed paintings, could very well be looked back on years from now as a significant milestone for the artist.
Human emotions
The creation of these pieces coincided with many major changes in the artist’s life, which included getting married, moving out, and turning 30.
“These life changes seemed to manifest my artistic style,” she says. “The lines and patterns in my head that used to only be black and white were getting more colorful. The subjects that fascinated me were changing, too. I could feel myself changing.”
Pangilinan describes her art as being rooted in and inspired by human emotions and experiences. But with an exhibit of this scale, how was she supposed to come up with a collection when she was still a work in progress?
“I thought of all the women around me, the newlyweds, the new mothers, the now empty-nesters who go through changes every day,” Pangilinan says. “I wanted to pursue this universal concept [that] we are meant to continuously evolve, and through my linescapes, leaves, laces, and ladies, I intend to emphasize that we can embrace every version of ourselves and be the multifaceted, dynamic beings we are all meant to be.”
One of her largest works, coincidentally, is titled “Right Where I’m Meant To Be” (60 x 48 inches), and features one of her female subjects donning a white dress while lazily lounging in a chair, surrounded by lush greenery. It brings to mind French painter Henri Rousseau’s 1910 work “The Dream,” which, while more suggestive, presents an aspirational idea. The females in both Pangilinan’s and Rousseau’s paintings are seemingly in a similar state of contentment, not needing anything (or anyone) else in a silent yet confident display of innate power.
When asked if the women in her paintings are her, Pangilinan says no, and that all are in fact different and nameless, an open invitation for viewers to see them as they see themselves.
Open to interpretation
Another strong piece combines her linescapes with a lady whose features are hidden from the eyes up. Whether she is in contemplation or simply striking a pose, there is a loud social message in “Enough.” That perhaps requires deep personal contemplation and is, again, open to interpretation.
Both the “Linescape” and the “Lace Study” series display Pangilinan’s technical skill and patience on a smaller yet equally impressive scale. The unusual patterns in the former come out spontaneously for Pangilinan, who likens the process as a way of merely unloading what’s on her mind. With the latter, she gives us a sense of nostalgia despite showing only a portion of the clothing. Set against black backgrounds, the fine, almost ghostly white lines may stir up memories for certain demographics and inspire curiosity for others.
Any artist worth their salt should know that there is no greater compliment than when something they created is able to elicit a genuine reaction, to bring out an emotion that would otherwise have been kept hidden. But because of the honesty in the work, a liberating feeling overwhelms viewers, and they begin to assess aspects of their own lives without any apprehensions.
Pangilinan is well aware of this and has had people tell her how her works are overwhelming. She takes pride in that, and it is something that gives her happiness—and that is all that should really matter.
“At the end of every year, I measure true success by asking myself: Am I anxious and exhausted? Do I like how I’m spending my time every day? Was I present for the people I love? Work is a blessing, and being able to sustain my life through my work as an artist—that is already the dream,” Pangilinan says.
“Woman In Progress” is on display until May 10, 2025 at Gallery C, Level 3, Conrad Manila in Pasay City.
