Organic revolutions
Emman Acasio on nature and human mankind
Mother nature does not take kindly to ignorance and abuse. In moments her patience is tested, she lashes out as a reminder that while life flourishes in her womb, she can just as easily orchestrate its destruction. Emman Acasio explores the tenous relationship between people and nature in his latest show “Finite,” which puts a spotlight on humankind’s impact on the envrionment and vice versa. Built on the principle that “Ours is a finite earth,” the collection emabarks on a visual exposition of the planet’s limited resources and man’s arrogance despite this reality.
“People nowadays have their own personal problems to prioritize rather than worry about taking care of the environment,” Emman muses. “Countries with less poverty are more aggressive when it comes to environmental preservation. Unlike here in the Philippines. Also, businesses here flourish with no regard for the damage they are causing the environment. That’s what we learned with the ongoing cleanup in Manila Bay. People focus on their personal gain.”
Emman points to the now endagered status of the tawilis, endemic in Taal Lake, owing to overfishing, pollution, and introduction of invasive foreign species such as the tilapia. “For me, natural disasters are nature’s way of reminding us of our responsibility and that we are one,” he says. ‘I randomly take photos of weird objects I think can be useful in my artworks. Besides developing my own system, I am also exploring new mediums like ceramic sculptures and augmented reality (AR).’
This pushed Emman to create flourishing ecoystems bursting with flora and fauna and inhabited by animals endemic to the country within the confines of his canvas. His paintings are a world of its own, pulsating with life in all its forms. But just when it appears to be a celebration of the diversity of species in the Philippines, in the center of the piece are orbs that depict the most tragic natural disasters—from the typhoons that swept away countless souls to the merciless volcanoes that consumed surrounding villages. It provides a glimpse of the other side of nature, highlighting its wrath which, the artist says, is spurred by man’s abuse. Ultimately, it will cause our own extinction.
Emman’s deep fondness for nature comes from growing up in the fishing village of Lemery, Batangas, where his home was a mere 100 steps away from the water. Despite the wealth of the surrounding resources, he recalls that the neighbhorhood was largely ignorant about natural preservation, an observation he never forgot. “I also think that there’s an inner Kuya
Kim in me who loves trivias about nature,” he jokes. “Ideas just come to mind whenever I am composing an artwork and it makes me feel that I am in my element.”
It was also at a young age that Emman began painting, starting with micmicking the landscapes of his father, Lino Acasio, his primary mentor, who had a signficiant influence on his aesthetic. As Emnan matured, he developed his own method. A fan of surrealism, he admits to being drawn to the bizzare to communicate meaning guided by his own subconcious. Spontaneous, Emman says his visual repertoire is largely reliant on memory and instinct.
“Now, I see things differently,” he says. “I tend to find stories from mundane objects. Suddenly everything becomes interesting. I randomly take photos of weird objects I think can be useful in my artworks. Besides developing my own system, I am also exploring new mediums like ceramic sculptures and augmented reality (AR).”
Emman’s use of AR is admittedly an outstanding feature of the collection. Though the concept serves as a strong foundation in itself, AR adds another layer that takes the experience to another level. This idea of breathing life into his work by adding movement through the aid of technology, stemmed from when Emman was in Singapore and he learned animation in the process of creating presentations for clients. “Last year, Artivive was introduced to me by Norlie Meimban,” he says, referring to an application that uploads animation into AR that can be later viewed using a mobile phone.
“It makes artworks come to life,” he says. “Since I tackle serious and, for some, boring issues, I need to find ways to make my work more intresting. Everyone will be able to experience the natural environment through virtual capability.”
For Emman, technology can be valuable tool for artists. “It helps us ease the process and focus more on ideas,” he explains. “It also assists us in presenting our creativity in a different, sometimes unexplored, medium.”
He adds that technology, despite being an inorganic tool, if used properly, can be vital for the preservation of the organic. “I think it’s about exploring and realizing new ideas, forms, techniques, and mediums,” he says.
Emman Acasio’s collection, “Finite,” is on exhibit at the Galerie Stephanie until March 17, 2019.