A Strong and Unique Visual Force


To describe Veneracion’s work is to bring back the context of his early period. In the early 1970’s, or even before that an attitude that divides the whole pictorial area into several areas (or cells) as though the divisions have their own individual sovereignty as in the city states of old European maps… like there are several paintings assembled together. A tension is therefore achieved and generated as a strong and unique visual force… the colors reverberate, resound. They do not deal with transparencies or lateral movement: they provide a frenzied structure built according to intuition. The segments draw a tension of belonging, and independence, singularity and multiplicity…a whole catalogue of his seemingly endless devices and techniques may make him quite an artist with rather sophisticated hand-mind coordination, and yet, there smacks a touch of primitivism in the way the geometric shapes were intuitively laid around, and the way the colors were mis-coordinated. This works for him now, as he provides a checkpoint of what may be called “Filipino taste.”

1984 Raymundo R. Albano
Museum Director
Cultural Center of the Philippines


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Fascinating Wall Works


Among the “new abstractionists”…Roy Veneracion… has produced some fascinating wall-works, making a name for constructional paintings made up of disparate sections held together almost against their will. Each component – while indelibly part of the whole painting – is elaborately worked in an assortment of textures, colors and motifs.

1992 Cesare Syjuco
Art Philippines

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An Exciting Direction


The Patchwork configurations in the paintings of Roy Veneracion (b. 1947) signaled an exciting direction in Philippine abstraction. His works, with their tattered and seemingly clumsy abstract patterns, are an aesthetic criticism of the cosmetic refinement that soon characterized the smooth and immaculately crafted minimalist Philippine paintings. Veneracion’s intentional shabbiness of texture and his exaltation of trashy and scratched surface force on the viewer a recognition of the painting as an object controlled by the artist. Linear drawing, oscillating color areas, select figurative forms, energetic and rhythmic interlacing of undetermined puzzle parts combine in an anarchic elegance not unlike the improvisations of jazz musicians. Veneracion’s paintings are visually atonal, disrupting harmonies that the viewer expects.

1992 Cid Reyes
Art Philippines

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Mnemonic Deconstruction


The fracture lines between Memory and mnemonic deconstruction points towards the intellectual engagement of Roy Veneracion between style and artmaking… continues his art brut-ish ways, mixing child-like drawing and heavy paint appliqué with vertical gusto.

- Reuben Ramas Canete

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