Ian Quirante

The Wabisabi of Ian Quirante 

In recognition of the perfection of imperfection

August 8, 2016 / E-4

By Hannah Jo Uy

There is no direct transla­tion to the elusive Japanese philosophy of wabisabi. In contrast to the western idea of classical beauty, often defined by symmetry, this Eastern concept cel­ebrates imperfection, impermanence, and impulse. Wabi is often referred to as exquisite and bittersweet melan­choly, while sabi more closely denotes the nobility of aging and individuality. Together they make peace with the transitory state of nature, praising that which is beautifully mended and looking at cracks as something to be appreciated, rather than disguised.

 

While the minimalism of Japanese aesthetics might be considered in op­position to artist Ian Quirante’s more explosive and spontaneous creations, this acceptance of the beauty of im­perfection played a vital role in his de­velopment an artist. 

“Automatism is the core,” says Ian Quirante of his creative pro­cess. “I discov­ered it as a pu­pil in Fine Arts when I asked my advisor: ‘What if I made a mis­take?’ He replied: ‘Then it becomes a part of your work!’ That really opened a lot of doors for me—to set aside perfec­tion, create with­out limitations, and present the artwork as it is.”

His ability to view flaws, not as blemishes but rather birthmarks that reinforce the originality of each piece, allowed him to foster and cultivate a certain kind of spontaneity that wel­comed improvisation and gave way to organic and dynamic visual composi­tions. He has since made a celebrated career of these visual compositions, much to the delight of the art commu­nity, which first sparked his interest at a tender age. 

“The first time I drew an airplane, I was around five or six,” Ian recalls, “I had this neighbor who drew me an airplane on a notebook, then I drew a better version of it beside his. I knew then that this has something to do with who I wanted to be later on in life.”

Although a competitive spirit might have sparked his initial inkling for arts, the only person that Ian is concerned with challenging these days is himself, as he is always looking to explore new horizons of his creative process and applying them in innova­tive, pioneering, and exciting ways to push the boundaries. 

His love for painting led him to complete a degree in Fine Arts from the University of the Philippines, where he was able to continue his study of artists that influenced his early works, which includes Bosch, Bacon, H.R. Giger, and Roland To­por. He held his debut exhibit at the Boston Gallery back in 2003, and since then he has become a full-time artist with a prolific portfolio that repre­sents the liberal assortment of genres that sparked his imagination.

 

The influences that informed the concepts and paintings of Quirante features an eclectic roster that in­cludes the music of Tool, Erich von Daniken’s “Chariots of the Gods,” Stanley Kubrick’s 2001: A Space Od­yssey, Ridley Scott’s Alien, and the animated film Fantastic Planet. In addition, Quirante also cites the icon­ic Leonardo Da Vinci, as particularly influential, which is perhaps most evi­dent in his inclination toward learning about anatomy in the quest to under­stand the natural world. 

“Ever since I was a child I have al­ways been curious about what makes a living organism tick,” he says. “Lat­er on I learned about microorganisms, molecules, cells, and the DNA, and I wanted to be a biologist because of that. The massive heads, body parts, inter­nal organs, and cell structures—some people are scared of them or don’t like it, they mistakenly find it horrid and grotesque, while some surprisingly love it. But that’s just how it works, be­cause some seem to forget that these are those of us capable of creating beautiful and destructive things.” 

In his works, anatomic parts float­ing in zero gravity are prominent im­ageries of Quirante, which feature stunning dreamscapes and landscapes with notable iconography and symbol­ism. “I once had a dream I was inside my paintings... It was frightening, threatening, beautiful, and pleasant at the same time.”

Indeed, viewers are similarly jarred yet seduced by this eclectic mix, which is made more potent by the raw and unassuming approach that Quirante has toward his work. As he welcomes the possibility of im­perfection, he is able to create with no presumptions. Throwing himself on the canvas with no sketch or study, the result is as much of a surprise to him as anyone. “Everything is un­planned or unprecedented; there is no grand design. I don’t plan a story or theme (unless required). It is like I know that I have to put something in that area but I’m not really sure what it is, but I’ll know once I start working on it. There is no hierarchy with the images. Everything is equal. I just use these images to complete the composition.” 

In his latest exhibit entitled “Pro­genitor,” at the Finale Art Gallery, Quirante extends his discourse on man’s place in nature through 12 paint­ings depicting anatomical landscapes challenging us to confront our origins and the vital role we play in the evolu­tion of civilization and the universe as a whole. “It is us as the Progenitor of the modern age and the architect of our future,” says Ian of his latest col­lection, “whether we’ll survive in the next few hundred years or we all end up destroying each other.”

His latest collection denotes his energetic evolution, and constant need to move away from a particu­lar style. He continues to delineate from flat linear paintings, always on the move to provoke his own growth through new techniques and medi­ums to create new dimensions. Aside from painting, he also dabbles in myriad other artistic endeavors such as completing the development of “The Seeds,” his own comic book cre­ation that he aims to have published before the upcoming Komicon. He is also the front man in his band Switch and serves as an art teacher at De La Salle-College of Saint Benilde.

Art continues to be a compelling force driving Ian to a million differ­ent directions. He follows willfully, finding in his craft and profession the ultimate metaphor for existence: “Art is life and or life is art. Life can be vio­lent and peaceful, there is always that universal balance, the yin and yang, and that’s reality. And I paint that in my work, nourished, and fueled by passion and despair then fuse them into one.”