Representation and perception hover between abstraction and documentary traditions, traditions deploying technology, technology produced and utilized by economic, social, political and cultural forces. Mechanisms and effects as well can be formal, technological, economic, and social. How does one perceive and understand the abstract mechanism behind the documentary effect, and conversely the documentary mechanism in the abstract effect? Is representation a perception of a formation?
Much has changed in the world: the resurgence of the seemingly opposite sides of representation and perception in contemporary practice and culture has never been more obvious and obtuse, spectacular and subtle. Observing recent (art) world making and the veiling/visualizations of its technologies, such Untitled Episode Formations attempt to engage the deep structure of contemporary abstract and documentary aesthetics and forms in digital and material culture through perceptions of representation and representations of perception - chroma screens doubling as drone paintings, kino faux lights bolted on used plywood a la placards, motorized mannequins in chroma jumpsuits, haute data dossiers blown up to banner dimensions, performative teleprompter of a reality TV transcript, waves recorded at the edge of the world.
Yason Banal's work takes on myriad forms and conceptual strategies in order to explore and refract, perhaps even trigger, links and frictions among seemingly divergent systems. Information, soft research and documentation juxtapose with imagination, critique and materiality, exploring notions of the social, the formal and the personal - as observer and interlocutor of a world. The world in his work appears with awkward elegance and mysterious beauty, composed of time, image and form in conversation and resistance, predicated by degrees of affinity within a network of ideas and interventions, a screen-povera in fluctuating formations.
Born in 1972, Manila, the Philippines.
Lives and works in Manila, the Philippines.