Allison Wong David

Allison Wong David:  Connecting through Figures and Strokes

Text by Bryan Garcia

May 17, 2010 / E-7

A bridge is a structure that spans and provides passage over a gap. It connects two worlds separated by an immovable barrier. The link exists for the purpose of exchange between those two sides, be it physically or through thoughts and ideas.

Such is the gap that exists between a simple layman and the obscurity of art. The conceptual intricacy and the aesthetic puzzles subtly infused with each brush strokes elude the sensibilities of the common man. It is this disparity that artist Allison Wong David aims to narrow by establishing a link that lies in the plane of shared cognition. 

"Art is ultimately about communication,' David shares. Her awareness of the connection that exists between all things is the underlying concept which David executes her art. The consciousness of bringing art closer for the public to appreciate creates a relationship between her and her audience.

Born to a Chinese father and an English mother, David was originally from Hong Kong where she owned and operated an antique Chinese furniture shop. "I was in the antique furniture business for 14 years without really practicing art making. But all the while I didn't lose the fire in my belly, so to speak," David recalls.

She then migrated to the Philippines with her husband in 1998. Although having previously studied arts in London, it is in the Philippines where David's bravado for art making blossomed. "The energy of creating or thinking is very strong here in the Philippines. Maybe it's because of the earth, the land and maybe also in terms of spirituality of the Filipinos. There are more soulful people here than there are in Singapore and Hong Kong," David shares.

David's first solo exhibit included a series of portraits aptly named "Portrait Mosaic". The thick strokes that illustrate the form of her subjects also capture the distinct lines that give drama to the persona's character. The transition through different hues of the visage accentuates the life of the subject which paints a portrait of honesty and truth.

Aside from the straight image of the subject, David also produces an offshoot of the original piece that reflects the character's essence in David's personal perspective. "What I normally do is I'll paint a straight portrait and then another one that shows life and the layers of emotion through David's relationship with each of her subjects.

"My brush strokes are more what they call almost like ala prima. When I gather my paint, the energy is in the brush to make the mark, rather than making the kutkot (small strokes) that is inside me using that style. It's more about the rhythm of things rather than the perfection of things. It's more impressionistic because it's more immediate." David says.

In her recent work, currently on show at the Cultural Center of the Philippines (CCP), David explores the subtlety of nature's elements. Meandering among the geological stone formations, sinuous fluidity and the contradiction of industrial buoyancy. David focuses on the imposing presence of nature's massive features. The artworks, albeit dense and substantial, is executed in such a way that mimics the lightness of nature and the inspired movements of each element. "This particular show is about nature, how nature is strong and fragile at the same time ," David explains.

 

Stone ware, canvas, oil and stainless steel are brought to life with David's vision of images that reflect the artist's thoughts and cognitive experiences. "I use a lot of different materials because they allow me to say what want to say. I don't start out with a material. I start out with a concept. Then I go and look for materials that are really appropriate for that particular concept," David shares.

As an artist who is not limited with the visual, David also expresses herself through written word which is closely tied with her artworks. Although as much a part of her creativity as her art pieces, David modestly underrates her poetry to that of whimsical flashes.  "I have more fun with art, its play. While poetry is so fleeting, I cannot compose it and play with it as much as I feel that I can do with painting. While writing, you get an idea and it so quick. It's not inspired by the writing, it's inspired by the situation," David says.

David's understanding of the importance of communication prompted her to explore the possibilities of reaching out. The challenges of sharing have so engulfed David's approach that she transcends the images to involve even the visually impaired, "I bring form and shape in Braille so that people who are blind don't have to read linearly. They are given the opportunity to think beyond the flat surface," David says.

These particular pieces of perplexing shape and texture not only induce interest for those who use Braille but also extract curiosity from those blessed with sight. "They can't be comfortable they have to go a little bit beyond themselves to experience the shape and what the Braille says. When you put yourself in a difficult situation, somehow something new will open up to you and in your mind," David adds.

Although her art has kept David isolated, it has made it more important for her to make pieces that stir and induce responses from her audience. "You don't want to be so far detached that people who are seeing your work won't understand. That's really important because you are trying to communicate. It's a form of communication which is much bigger for me than speech," David shares. 

Bringing worlds together is a concept that David wants to attain with her art. Aside from this, it's the dichotomy and the gap between  those opposing poles that intrigue her. "I'm interested in things in between," David shares. Through these gaps, she explores possibilities and formulates ways to unite diverse thoughts into one of pondering and self-realization.