The Draw­ing Room gives artists more room for cre­ativ­ity

In its new home. The Draw­ing Room ex­pands cre­ative fron­tiers

Red Magazine - - Contents -

With three sec­tions of the gallery hold­ing about 10 shows a year, The Draw­ing Room’s new space at The Al­ley at Kar­rivin gives con­tem­po­rary art a new and more con­stant home. Owner Jun Vil­lalon ex­plains why they chose to move to the new space: “Our first gallery was at Met­ro­pol­i­tan Av­enue, and it was much smaller. We de­cided to look for a big­ger space to of­fer our artists a big­ger venue for their ex­hi­bi­tions.” To aid in this process, he asked ar­chi­tect J. Antonio Men­doza to de­sign the new gallery. “This used to be a ware­house where peo­ple would train dogs. When we came in, it was re­ally just ce­ment floor and walls, noth­ing else.” Now, guests en­ter­ing the space are be greeted by a high ceil­ing, art in­stal­la­tions, and two gates at the back of the room that lead to Vil­lalon’s of­fice.

In de­sign­ing the space, Vil­lalon and Men­doza

“There wasn’t much of an ad­just­ment, be­cause a big­ger space would of­fer the artists more flex­i­bil­ity and more walls to dis­play their in­stal­la­tions.”

Op­po­site page: The hall­way en­trance fea­tures a ceil­ing de­sign copied from the San Ig­na­cio Church. Above: Artists have the op­tion to re­con­fig­ure the main space de­pend­ing on their ex­hi­bi­tion. Be­low: The li­brary in Vil­lalon’s of­fice also acts as a meet­ing space for artists. wanted it to be more than just a cube with white walls. “An­ton and I went for some­thing more [de­signed]. As you can see, it is very con­tem­po­rary but you can also see touches of the colo­nial aes­thetic, with some antiques here and there,” says Vil­lalon. The colo­nial touch is es­pe­cially ev­i­dent in the ceil­ing by the en­trance hall­way. “We re­pro­duced the ceil­ing of a Je­suit cathe­dral in Er­mita that was bombed dur­ing the Ja­panese pe­riod; I think it was the San Ig­na­cio Church, if I’m not mis­taken.” He also points out the antiques around the space. “The gate is made of grills from old win­dows. We also put up a chan­de­lier that has been with me for 20 years.” The chan­de­lier is placed above a ta­ble in his of­fice, mod­ern­ized with LED lights. “In the li­brary, you will see some old things, some old san­tos and other things I have col­lected through­out the years.”

Tran­si­tion­ing to a big­ger space was a wel­come move for The Draw­ing Room. Vil­lalon says, “There wasn’t much of an ad­just­ment, be­cause a big­ger space would of­fer the artists more flex­i­bil­ity and more walls to dis­play their in­stal­la­tions.” Be­cause of the wider space, artists have more room to re­con­fig­ure the gallery to fit their ex­hi­bi­tion, such as ad­ding walls to di­vide the main area.

Aside from the main gallery space, there are two other sec­tions for ex­hi­bi­tions. “Nor­mally, we would have two shows ev­ery month so one artist would take the long hall­way and an­other will take the big­ger space.” Dur­ing big­ger shows, though, one artist can take up the en­tire gallery. Usu­ally, small pieces are dis­played in the hall­way, “but we had a Dex Fernandez in­stal­la­tion [one time] that had him paint the whole span of the left wall, so it re­ally de­pends [on the show we’re stag­ing].” The third sec­tion of the gallery serves as the win­dow dis­play. “We call it the project win­dow space. Artists can pro­pose to ex­hibit in that small space, con­fined within that win­dow dis­play area where they can do what­ever they want. It gets quite in­ter­est­ing.” • Build­ing C Kar­rivin Plaza, 2316 Chino Ro­ces Av­enue Ex­ten­sion, Barangay Ma­gal­lanes, Makati City 801-4397/801-4398


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