PLUG IN ICA, WIN­NIPEG April 15 to June 4

Canadian Art - - Preview -

Pain­ter Patrick Cruz floods the gallery with his busy, vi­brant paint­ings for this max­i­mal­ist, site-spe­cific in­stal­la­tion. Here, he de­scribes his in­tu­ition-driven process.

PATRICK CRUZ: Why max­i­mal­ism? It’s a sen­si­bil­ity. It’s my way of com­pre­hend­ing ma­te­ri­al­ity and en­vi­ron­ments. It’s rooted in where I grew up—manila, a very con­gested, over­pop­u­lated en­vi­ron­ment—and that sen­si­bil­ity car­ried through when I moved to Canada, where there’s so much space that wants fill­ing. Max­i­mal­ism makes sense to prac­tice here be­cause of the preva­lent ide­ol­ogy of con­sump­tion and ma­te­rial ex­cess, which gets sourced out in labour and pro­duc­tion. For Plug In, I’m mak­ing half the work in Toronto and the rest is or­ganic—which is how I work. It’s re­spon­sive to the ar­chi­tec­ture of the space and the con­text of the com­mu­nity. The whole process is in­tu­itive. I only have a floor plan. I’ll be col­lab­o­rat­ing with the Filipino com­mu­nity in Win­nipeg be­cause I en­joy in­volv­ing the pub­lic as col­lab­o­ra­tors or par­tic­i­pants. Grow­ing up in poverty has in­flu­enced how I ap­proach ma­te­ri­als, and the no­tion of ad hoc has al­ways been in­ter­est­ing to me be­cause, for me, im­pro­vi­sa­tion is a means of dis­rupt­ing a sys­tem, and this adap­ta­tion be­comes a po­lit­i­cal metaphor.

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