Juan http://www.juan.ph Juan Tue, 24 Apr 2012 18:41:38 +0000 http://www.juan.ph en Portraits http://juan.ph/Portraits http://juan.ph/following/juan.ph/Portraits Tue, 24 Apr 2012 18:41:38 +0000 Juan 598407 Portraits have always been special to me. This is not to say everything else pales in comparison, but rather, these particular pictures I've made of people—images I will continue to make—they all have a story to tell, and whether or not it is something I conjured up or a particular quality that was inherently there, I know them all by heart. —Juan Caguicla, 2012 This is an ongoing collection of photographic portraits dating from 2000—present. Some of these images have been published and/or exhibited and are produced by both analog and digital means. These photographs are presented in no particular order and are currently unmarked. <img src="http://payload.cargocollective.com/1/0/7010/598407/cc__ak-kimoto.png" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__ak-kimoto_o.png" data-mid="13394963" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__aless-tinio.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__aless-tinio_o.png" data-mid="13394975" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__alfredo-lim.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__alfredo-lim_o.png" data-mid="13394977" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__amelie-berard.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__amelie-berard_o.png" data-mid="13394981" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__avdiaz.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__avdiaz_o.png" data-mid="13394983" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__billy-king.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__billy-king_o.png" data-mid="13394986" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__bong-marcos.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__bong-marcos_o.png" data-mid="13394989" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__carlos-celdran.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__carlos-celdran_o.png" data-mid="13394990" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__celina-lusford.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__celina-lusford_o.png" data-mid="13394992" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__iloveyous.png" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__iloveyous_o.png" data-mid="15152663" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__chamaineandnonie-buencamino.png" width="670" height="500" width_o="670" height_o="500" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__chamaineandnonie-buencamino_o.png" data-mid="13394996" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__christian-razukas.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__christian-razukas_o.png" data-mid="13395004" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__eigenmanns.png" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__eigenmanns_o.png" data-mid="13395006" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__frank-hoefsmit.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__frank-hoefsmit_o.png" data-mid="13395008" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__geraldine-javier.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__geraldine-javier_o.png" data-mid="13395016" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__harald-arnold.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__harald-arnold_o.png" data-mid="13395020" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__helena-lehtinen.png" width="536" height="670" width_o="536" height_o="670" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__helena-lehtinen_o.png" data-mid="13395022" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__izumi-dominatrix.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__izumi-dominatrix_o.png" data-mid="13395023" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__jacqui-walter.png" width="536" height="670" width_o="536" height_o="670" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__jacqui-walter_o.png" data-mid="13395024" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__karim-moreau.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__karim-moreau_o.png" data-mid="13395025" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__karlroy.png" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__karlroy_o.png" data-mid="13395027" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__longineu-parsons.png" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__longineu-parsons_o.png" data-mid="13395029" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__lucieantunes-smile.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__lucieantunes-smile_o.png" data-mid="13395032" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__gothies.png" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__gothies_o.png" data-mid="15152678" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__marieruppell-leaves.png" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__marieruppell-leaves_o.png" data-mid="13395034" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__marti-mueller.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__marti-mueller_o.png" data-mid="13395041" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__martin-odlund.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__martin-odlund_o.png" data-mid="13395043" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__nick-galvin.png" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__nick-galvin_o.png" data-mid="13395044" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__nolidecastro-vice.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__nolidecastro-vice_o.png" data-mid="13395045" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__nonagarcia-back.png" width="536" height="670" width_o="536" height_o="670" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__nonagarcia-back_o.png" data-mid="13395049" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__peter-bialobrzeski.png" width="670" height="417" width_o="670" height_o="417" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__peter-bialobrzeski_o.png" data-mid="13395050" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__phillip-jones-griffiths.png" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__phillip-jones-griffiths_o.png" data-mid="13395053" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__poklong-anading.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__poklong-anading_o.png" data-mid="13395058" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__reinhardt-weidemer.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__reinhardt-weidemer_o.png" data-mid="13395062" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__rene-knecht.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__rene-knecht_o.png" data-mid="13395066" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__ronnielazaro-dontlook.png" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__ronnielazaro-dontlook_o.png" data-mid="13395069" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__sammyasuncion-spy.png" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__sammyasuncion-spy_o.png" data-mid="13395071" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__calayag-rosas-duque-sarte.png" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__calayag-rosas-duque-sarte_o.png" data-mid="15186261" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__shitamichi-motoyuki.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__shitamichi-motoyuki_o.png" data-mid="13395074" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__shoko-maeda.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__shoko-maeda_o.png" data-mid="13395075" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__solennheussaff-lovely.png" width="447" height="671" width_o="447" height_o="671" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__solennheussaff-lovely_o.png" data-mid="13395079" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__tad-ermitano.png" width="670" height="500" width_o="670" height_o="500" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__tad-ermitano_o.png" data-mid="13395081" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__tweetie-deleon.png" width="536" height="670" width_o="536" height_o="670" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__tweetie-deleon_o.png" data-mid="13395083" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__ulrich-bernhardt.png" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__ulrich-bernhardt_o.png" data-mid="13395085" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__yadh-elyes.png" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__yadh-elyes_o.png" data-mid="13395087" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__elybuendia-point.png" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__elybuendia-point_o.png" data-mid="13410071" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__eddieboy-escudero.png" width="507" height="670" width_o="507" height_o="670" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__eddieboy-escudero_o.png" data-mid="13410073" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__vj-villafranca.png" width="447" height="670" width_o="447" height_o="670" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__vj-villafranca_o.png" data-mid="13410075" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/598407/cc__izacalzado.png" width="670" height="331" width_o="670" height_o="331" src_o="http://payload.cargocollective.com/1/0/7010/598407/cc__izacalzado_o.png" data-mid="13846777" border="0" align="left"/> Waiting for A Sign http://juan.ph/Waiting-for-A-Sign http://juan.ph/following/juan.ph/Waiting-for-A-Sign Fri, 13 Apr 2012 09:53:51 +0000 Juan 619479 Juan Caguicla's photography has always been characterized by the union of the glamourous and the dissolute, his subjects projecting an aura that is at once detached from their reality while unbound by ours.In Waiting for a Sign, published in FLOW ① magazine, lone women in strange garb stand in the middle of raw wilderness, specimens that restrain themselves amidst the beautiful chaos that nature, left to its own devices, always brings. <img src="http://payload.cargocollective.com/1/0/7010/619479/waiting-pull_540.png" width="540" height="232" width_o="540" height_o="232" src_o="http://payload.cargocollective.com/1/0/7010/619479/waiting-pull_540_o.png" data-mid="13343947" border="0" align="left"/> Juxtaposed against irregular rocks, malevolent clouds and fog-covered landscapes, high fashion's studied forms take on an eerie symmetry, highlighting the unnaturalness of human construction. Juan's image of female and flora stand side by side, is psychically jarring, the eye trying to piece together what the mind sees as a disconnect. The two elements, each unmindful of the other, both patiently waiting for their own small revelations, is a feature that marks many of Juan's works, a characteristic that reflect's his quest to merge meaning and chaos. —Yvette Tan, horror writer 2009 <img src="http://payload.cargocollective.com/1/0/7010/619479/01-500_1001.png" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/0/7010/619479/01-500_1001_o.png" data-mid="13384321" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/619479/02-500_1006.png" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/0/7010/619479/02-500_1006_o.png" data-mid="13384333" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/619479/03-500_1182.png" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/0/7010/619479/03-500_1182_o.png" data-mid="13384346" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/619479/04-500_1124.png" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/0/7010/619479/04-500_1124_o.png" data-mid="13384361" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/619479/05-500_1144.png" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/0/7010/619479/05-500_1144_o.png" data-mid="13384368" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/619479/06-500_1139.png" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/0/7010/619479/06-500_1139_o.png" data-mid="13384373" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/619479/07-500_0998.png" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/0/7010/619479/07-500_0998_o.png" data-mid="13384380" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/619479/08-500_1009.png" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/0/7010/619479/08-500_1009_o.png" data-mid="13384385" border="0" align="left"/> Dreamcatcher http://juan.ph/Dreamcatcher http://juan.ph/following/juan.ph/Dreamcatcher Fri, 13 Apr 2012 09:53:44 +0000 Juan 661026 Excerpts from a self-initiated project, produced in conjunction with the (now defunct) creative group HG. These photographs served as the very first fashion images that showcased and launched the seminal work of (then, budding) fashion designer, Puey Quiñones and was used as campaign materials (including functioning as editorial content) to promote the designer's work. This series also features the talents of top-model, now stylist, Ria Bolivar. <img src="http://payload.cargocollective.com/1/0/7010/661026/dreamcatcher500-1.png" width="500" height="583" width_o="500" height_o="583" src_o="http://payload.cargocollective.com/1/0/7010/661026/dreamcatcher500-1_o.png" data-mid="13351686" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/661026/dreamcatcher500-2.png" width="500" height="583" width_o="500" height_o="583" src_o="http://payload.cargocollective.com/1/0/7010/661026/dreamcatcher500-2_o.png" data-mid="13351694" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/661026/dreamcatcher500-3.png" width="500" height="583" width_o="500" height_o="583" src_o="http://payload.cargocollective.com/1/0/7010/661026/dreamcatcher500-3_o.png" data-mid="13351703" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/661026/dreamcatcher500-4.png" width="500" height="583" width_o="500" height_o="583" src_o="http://payload.cargocollective.com/1/0/7010/661026/dreamcatcher500-4_o.png" data-mid="13351709" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/661026/dreamcatcher500-5.png" width="500" height="583" width_o="500" height_o="583" src_o="http://payload.cargocollective.com/1/0/7010/661026/dreamcatcher500-5_o.png" data-mid="13351717" border="0" align="left"/> Large-format gicleé prints on heavy rag, signed and numbered—@editions *Click here or navigate to the contact page for inquiries. Stumbling and Waking http://juan.ph/Stumbling-and-Waking http://juan.ph/following/juan.ph/Stumbling-and-Waking Thu, 01 Mar 2012 18:10:06 +0000 Juan 504311 In this series, the artist returns to the arms of the female form, old and comforting territory amid the blank wastes of digital possibility. The ancient curves sloping like familiar arguments to  the old exclamatory landmarks looming with sexual energies. The familiar photographic processes of defamiliarization and fragmentation annex the surgical powers of the computer, enlarging their reach and scope. The sigils of the female form are disassembled and reassembled by the forces of obsession and sampling. Released from biology, the curves collide and interpenetrate, punning on one another. Breasts slope into the buttocks they mirror. A clavicle is recast as a cetacean grimace, poking from above the neck. Because the series is practically a master class in the art of digital cosmetic surgery, it is of particular interest that the artist elects to retain a scar borne by one of the models: the trace of a horizontal incision running across the abdomen just above the floating ribs. One can imagine the artist’s delight in encountering this natural talisman, this sign of his labors. In homage to the talisman, he conflates the sign of physical surgery with his illusionistic acts of virtual surgery, complicating the nature of the reality that his chimeras inhabit. Preserved and foregrounded by the artist, the scar becomes a gate—a hole both open and closed—between the real world that provided the raw materials, and the creatures conjured through the computer. Thus digital photography, is acknowledged as a machinery of illusion. Discredited and banished for decades, illusion returns on the grave of the indexical photograph, but feels compelled to wink at the viewer, to indicate and acknowledge its artificiality from within the iron laws of perspective and versimilitude. A consequence of cosmetic reassembly is that photography’s impulse to fragmentation now has the power to create creatures from the fragments that used to mark the end of the process. The computer remobilizes synthesis as an operation subsequent to analysis, resulting in the appearance of creatures, or—more properly—chimeras, and with their appearance, the return of pose and gesture. The chimeras of Caguicla’s series inhabit generic, neutral spaces. Office corridors or architectural atoms equipped with rudimentary furniture bathed in a light that, shining on sleep-tossed beds, can only be read as morning. They stretch and sit up. They stumble or they get up, all looking newly wakened, and slightly raw. They do not seem to be distortions of the female body so much as evocations of a pre and/or protofemale force; the photographs seem to hint at or be relics from a time when the forces of the female body were casting about for possible avenues of solidification. —Tad Ermitaño, punk critic and sound artist Excerpted (with permission) from "Stumbling and Waking”, A meditation on a photographic series, Paris, France, 2008 <img src="http://payload.cargocollective.com/1/0/7010/504311/stumbling-pull.png" width="333" height="268" width_o="333" height_o="268" src_o="http://payload.cargocollective.com/1/0/7010/504311/stumbling-pull_o.png" data-mid="14031439" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/7010/504311/sothebys-stumbling_540.png" width="540" height="389" width_o="540" height_o="389" src_o="http://payload.cargocollective.com/1/0/7010/504311/sothebys-stumbling_540_o.png" data-mid="14031431" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504311/CARGO_01-0031.png" width="540" height="810" width_o="540" height_o="810" src_o="http://payload.cargocollective.com/1/0/7010/504311/CARGO_01-0031_o.png" data-mid="14031338" caption="s/w Plate #1" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504311/CARGO_02-9118.png" width="540" height="942" width_o="540" height_o="942" src_o="http://payload.cargocollective.com/1/0/7010/504311/CARGO_02-9118_o.png" data-mid="14031346" caption="s/w Plate #2" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504311/CARGO_03-9182_1200.png" width="1200" height="474" width_o="1200" height_o="474" src_o="http://payload.cargocollective.com/1/0/7010/504311/CARGO_03-9182_o.png" data-mid="14031362" caption="s/w Plate #3" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504311/CARGO_04-9087_1200.png" width="1200" height="633" width_o="1200" height_o="633" src_o="http://payload.cargocollective.com/1/0/7010/504311/CARGO_04-9087_o.png" data-mid="14031383" caption="s/w Plate #4" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504311/CARGO_05-6935.png" width="540" height="810" width_o="540" height_o="810" src_o="http://payload.cargocollective.com/1/0/7010/504311/CARGO_05-6935_o.png" data-mid="14031400" caption="s/w Plate #5" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504311/CARGO_06-6866_1200.png" width="1200" height="633" width_o="1200" height_o="633" src_o="http://payload.cargocollective.com/1/0/7010/504311/CARGO_06-6866_o.png" data-mid="14031414" caption="s/w Plate #6" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504311/CARGO_07-6821.png" width="540" height="810" width_o="540" height_o="810" src_o="http://payload.cargocollective.com/1/0/7010/504311/CARGO_07-6821_o.png" data-mid="14031420" caption="s/w Plate #7" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504311/CARGO_08-0079.png" width="540" height="900" width_o="540" height_o="900" src_o="http://payload.cargocollective.com/1/0/7010/504311/CARGO_08-0079_o.png" data-mid="14031424" caption="s/w Plate #8" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504311/CARGO_09-0278_1200.png" width="1200" height="410" width_o="1200" height_o="410" src_o="http://payload.cargocollective.com/1/0/7010/504311/CARGO_09-0278_o.png" data-mid="14031428" caption="s/w Plate #9" border="0" align="left"/> Large-format gicleé prints on heavy rag, signed and numbered—@editions Related auction information may be found here *For inquiries, click here to send an inquiry, or navigate to the contact page. STEREO II http://juan.ph/STEREO-II http://juan.ph/following/juan.ph/STEREO-II Wed, 18 Jan 2012 12:39:20 +0000 Juan 543783 Showcasing the second part of two series marrying Caguicla's photography and Dy's large-scale charcoal drawings, Caguicla and Dy present only one image, albeit a very strong one. As in January's STEREO I, the two choose their body as their subjects to produce an altogether new and grotesque image. In this show, called STEREO II, Caguicla and Dy go much further with what they bare and where they connect. And by also going much bigger in scale, STEREO IIa is meant to make an impact. There is a thrill in seeing the actual piece for the first time. Complementing STEREO II is their collaboration for Brian Tenorio and Emi Jorge's design exhibition, Tenorio/Jorge on Fifth Avenue, which ran from April 29 through May 22 in The Philippine Center in New York. "As a backdrop to Tenorio and Jorge's designs are two of the most-photographed faces in the Philippines, Piolo Pascual and Angel Aquino - both excellent specimens of quintessential Filipino beauty."* Caguicla photographed Pascual and Aquino while Dy drew on the decorative details. To highlight what is 'Pinoy', they thought to put together Pascual and Aquino's iconic beauty and Catholic iconography.—Bea Davila, in-house writer Silverlens Gallery, 2010 <img src="http://payload.cargocollective.com/1/0/7010/543783/stereo2-1main_566.png" width="566" height="95" width_o="566" height_o="95" src_o="http://payload.cargocollective.com/1/0/7010/543783/stereo2-1main_566_o.png" data-mid="13309156" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/543783/stereo2_piolo-angel_566.png" width="566" height="416" width_o="566" height_o="416" src_o="http://payload.cargocollective.com/1/0/7010/543783/stereo2_piolo-angel_566_o.png" data-mid="13309155" border="0" align="left"/> Graphite on gicleé prints STEREO IIa approximately 44x240-inches, signed by Caguicla and Dy STEREO IIb approximately 44x66-inches (each), signed by Caguicla and Dy *For inquiries, contact manage@silverlensphoto.com STEREO I http://juan.ph/STEREO-I http://juan.ph/following/juan.ph/STEREO-I Sun, 29 Aug 2010 12:32:57 +0000 Juan 504292 This is our second collaboration. The first part of two separate (but intrinsically linked) series. The dynamic of the imagery in both STEREO I and II are one and the same. Both showcase one's aesthetic that leans to the grotesque, and the other's unbridled skill in the medium of drawing. The goal in this collaboration, unlike our previous one, is to come up with singular work, and/or piece(s), whilst retaining each other's individual talents and aesthetics equally, which is why we chose to present this work with as much symmetry as we could muster, given certain parameters we've established very early on during the conception stage of this series. Despite us having chosen symmetry and a sort of visual equality for this series, however, we cannot help but feel some sort of unevenness to the work. Maybe it's because it showcases two different facets and characteristics of two different people, maybe it's the way the imagery is presented, or maybe both of us just have the need for something slightly off-kilter despite our conscious efforts for symmetry. Whichever the case, WE LIKE IT, and we hope you do too. —Juan Caguicla and Christina Dy, collaborators, STEREO I, 2009 <img src="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_001.png" width="620" height="620" width_o="620" height_o="620" src_o="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_001_o.png" data-mid="14030940" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_002.png" width="620" height="620" width_o="620" height_o="620" src_o="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_002_o.png" data-mid="14030972" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_003.png" width="620" height="620" width_o="620" height_o="620" src_o="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_003_o.png" data-mid="14030989" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_004.png" width="620" height="620" width_o="620" height_o="620" src_o="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_004_o.png" data-mid="14030995" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_005.png" width="620" height="620" width_o="620" height_o="620" src_o="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_005_o.png" data-mid="14031006" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_006.png" width="620" height="620" width_o="620" height_o="620" src_o="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_006_o.png" data-mid="14031016" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_007.png" width="620" height="620" width_o="620" height_o="620" src_o="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_007_o.png" data-mid="14031025" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_008.png" width="620" height="620" width_o="620" height_o="620" src_o="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_008_o.png" data-mid="14031037" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_009.png" width="620" height="620" width_o="620" height_o="620" src_o="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_009_o.png" data-mid="14031050" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_010.png" width="620" height="620" width_o="620" height_o="620" src_o="http://payload.cargocollective.com/1/0/7010/504292/STEREO-1_010_o.png" data-mid="14031150" border="0" align="left"/> Graphite on gicleé prints, Approximately 44x44-inches, signed and framed *For inquiries, contact manage@silverlensphoto.com Interlude http://juan.ph/Interlude http://juan.ph/following/juan.ph/Interlude Sun, 29 Aug 2010 12:22:21 +0000 Juan 504290 Ronald Ventura and Juan Caguicla's Interlude is a result of a collaboration between the painter and photographer that emphasized the processes involved in creating the work as much as it was of their respective artistic sensibilities. With Caguicla handling the photography, they did a photo-shoot (which Ventura co-art directed with him, applying body paint on the model among other things). The result of this was then handed over to Ventura to do additional art straight onto the print itself. This was then photographed again and processed by Caguicla; then sent yet again to Ventura. Due to the elongated period of crafting the picture, the dialogue between the two artists was kept visual, an ongoing conversation without words, resulting in a feral game of exquisite corpse. Though distinct in their individual work, this piece unites their talents to produce a crepuscular vision of beauty‚ capturing both its blinding luminescence and encroaching darkness, the terrible glamour of their muses. —Erwin T. Romulo, associate editor, Philippines Free Press As published in Sotheby's Modern and Contemporary Southeast Asian Paintings, 2010 <img src="http://payload.cargocollective.com/1/0/7010/504290/interlude-quote.png" width="333" height="166" width_o="333" height_o="166" src_o="http://payload.cargocollective.com/1/0/7010/504290/interlude-quote_o.png" data-mid="13983598" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/7010/504290/interlude__01-2048t_1200.png" width="1200" height="511" width_o="2048" height_o="873" src_o="http://payload.cargocollective.com/1/0/7010/504290/interlude__01-2048t_o.png" data-mid="13983422" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504290/interlude__02-2048t_1200.png" width="1200" height="377" width_o="2048" height_o="645" src_o="http://payload.cargocollective.com/1/0/7010/504290/interlude__02-2048t_o.png" data-mid="13983530" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7010/504290/interlude__03-2048t_1200.png" width="1200" height="511" width_o="2048" height_o="873" src_o="http://payload.cargocollective.com/1/0/7010/504290/interlude__03-2048t_o.png" data-mid="13983587" border="0" align="left"/> Color C-prints, approximately 40x113 and 40x80 inches, framed, signed by both Ventura and Caguicla. 5 Editions *For more information log on to Sothebys.com or contact manage@silverlensphoto.com