Lynyrd Paras Boxed Noises

By Antonio Luz

 

To some extent, the emergence of Lynyrd Paras (b. 1982, Philippines) and his precociously engaging talent has been rather unexpected. Though he dabbled in drawing as a youngster and initially enrolled in advertising in a Manila college, Paras admits he did not really aspire to be an artist. It was only upon the suggestion of a fine arts professor that he began to experiment with painting while in university.

Nevertheless, in a very short time Paras has begun to create works that have not only captured the attention of a growing number of collectors, but have turned into a burgeoning career that brings with it much promise and potential.

Much of Paras' inspiration comes from his immediate surroundings. The frenzied, chaotic corner of Manila where he resides and works seems to infuse his art with a certain edginess and raw truth. As much as he strives to apply more formal techniques and creative processes gleaned from practice as well as his education, Paras' art still remains a statement about place and the realities and issues that exist there. In this respect, Paras is no different from many of his contemporaries.

So, what is there in Paras' work that has begun to attract viewers both in the Philippines and around the region? For one, an examination of his work over the past two years reveals a startling ability to refine his stylistic and technical abilities, as well as develop his own unique perspective on his subject matter. What essentially appeared as rather naive renderings in the past has become more refined and focused, while still retaining certain trademark elements that define the uniqueness of this artist's visual statements. These elements include the drab, deadened hues of urban decay that somehow, in Paras' hands, become almost colorful. Graffiti, text and seemingly random markings also figure prominently in his new pieces, startlingly juxtaposed by his captivating figures that loom large.

It is these figures that are the focal point of his pieces and underscore much of the purpose, if not the enchantment, behind Paras’ work. The stylized, exaggerated portrait, with their large heads and liquid filled eyes, contains both subtle emotions as well as a somewhat mysterious subtext.

They often appear melancholic, even sorrowful, but also evoke both a sense of youthful resilience and rebellion. Though they can stand alone as portraits, they are often contrasted with a heavy dose of vernacular text that is actually sardonic statements about a variety of issues. This textual element can be attributed to graffiti messages that litter the urban landscape, and in fact echo the thoughts of the artist (and perhaps his subjects) about the realities of urban life in Manila..

Lynyrd Paras' latest collection of works continues to be a response to his surrounding urban environment, but not in a manner that one would expect. Rather than depict structures, life on the street and such, Paras curiously takes his cue from what he hears. As in many urban Asian settings, personal space in Manila is simply not regarded. Thus, one's senses have to endure an invasion of smells, the jostling for space, the disorganized, jumbled variety of structures that have little or no relation to any sense of balance or unity, as well as the incessant noise of blaring traffic, endless street activities and the like. Paras attempts to transmit all this on a consciously direct level through textual, vernacular reactions rendered graffiti-like on monochromatic backgrounds, juxtaposing them with his intriguingly forlorn, almost mutely quiet subjects. It is as if they seem stunned by the noise, assaulted to the point of resignation, and yet they speak volumes about the environment the artist inhabits.