Random Construct: Timestamp 01 (2022)
cherry valley forever

titsay
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2025 on Tumblr: Trends That Defined the Year

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d e v o n
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sheepfilms

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Show & Tell

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YOU ARE THE REASON
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@troyignacio
Random Construct: Timestamp 01 (2022)
Vampire Empire (2022)
watercolor on paper, 44 x 60 inches
Parrying Posture (2021)
watercolor on paper, 44 x 60 inches
Index: Portrait (2021)
watercolor on paper, 15 x 22 inches
Distilled Life series (2021)
Distilled Life series (2021)
watercolor on paper, 15 x 22 inches
Volcano Factory (2021)
watercolor on paper, 44 x 60 inches
Tenements (2021)
Tenements is a collective presented as structures where concept, identities, and information intertwine and exist in a flux state. Similar the systematic structure of a tenement building, each elements continous infinitely and separately, yet come together as a whole occupying the same space.
Tandem (2020)
Art Jakarta 2019
The Great Indoors (2020)
Artist's Note:
"The Great Indoors" is a series of paintings made during the lockdown period due to the covid-19 pandemic. The artworks attempt to visually articulate the helplessness, anxiety, anger and grief that we experienced during quarantine.
Social media posts, news (fake and legit), memes about the crisis are the main source of inspiration and materials for the paintings. As with my current practice, each painting (watercolor as medium) is rendered in a collage like manner. Simulating the process of gather, edit and compose; Building a narrative as per creator's perception/projection of the current situation.
If a Tree Falls... (Artworks set 2)
If a tree falls in a forest and no one is around to hear it, does it make a sound? (March 16-April 9, 2019 | The Drawing Room Contemporary Art, Manila, Philippines)
If a tree falls in a forest and no one is around to hear it, does it make a sound? highlights the ideas of projection and perception as narratives in the current venues for information such as the internet and social media. The artist inserts this discourse within the space of painting versus collage, comparing fabricated identity (as in the careful creation-process of painting) to what is perceived of identity (to which collage presents as an anti-thesis). While the creation of identity-as-narrative stipulates the question of truth, Ignacio instead emphasizes the validity of truth among what are, relatively, personal truths. That such state persists despite the questionable nature of projection and perception, all narratives are still narratives and ultimately, the validity lies in the audience and even within the very act of projection as a way of validation.
Artworks (set 1)
New Works (group show) April 1-25, 2017
The Drawing Room Contemporary Art Karrivin Plaza, Pasong Tamo Ext., Makati City, Philippines
Re-con:Utopia October 8 - November 2, 2016
ABOUT THE EXHIBITION
Scavenged from previous paintings, Troy Ignacio cuts canvas and paper, reworking scraps into new forms. Each piece is meticulously chosen and set into a visual narrative, a montage of personal experiences and recent events. This exploration of the notions of meta-data started with his Re-Con series, first exhibited at this year’s Art Fair Philippines and continued within a group show in Bazaar Art Jakarta. In his work, Troy delves into the topographies of information and the process of its configurations and re-configurations.
Re-Con: Utopia perches itself on a single layer, tangible and arresting. The works beckon one’s sight to navigate the expanse of its surreal terrain. Shapes and figures morph into phantasms of flora and fauna hidden within landscapes. Peeking from the colorful undergrowth, mushrooms, trees and faces fade in and out between shadows.
These organic locales weave a narrative of the ideal, the ”utopia” that encompasses a universal desire and direction towards perfection. However, unlike the grandiose visions one associates with the word, these emerge as microcosms – self-contained and palpable. Through a substantiate reconfiguration of their elements, they are rendered corporeal.
Manifestation, subsequently evolving into construct.  In this exhibit, Troy Ignacio presents utopia not as an apparition but a state to be built upon. Rather than ambiguity, it reaches for result – the process of which gives birth to a charged narrative. Akin to a puzzle, these pieces realize an image, a semiotic whole.  They do not fall into place; rather, they are deliberately arranged. This gives rise to the creation of the meta-narrative: dictated by and fashioned to one’s liking.
What is not important is discarded and replaced, what is ideal is materialized.