Throughout her paintings, sculptures, and videos, Maria Taniguchi’s work involves a fetishism of form. Her voluminous brick paintings employ rigorous composition and monochromic techniques, with a dense investment of time and labour which is transformed into a visual spectacle. Her sculptures establish a tangible system in space, as well as an order and logic of viewing and participation. The manipulation of the camera and the status and movement of the objects in her video works also bring about consistent rhythms and patterns.
With such logics and patterns, Maria Taniguchi unpacks knowledge and experience—connecting material culture, technology, and natural evolution—and investigates space and time, along with social and historical contexts. The artist finds herself in the exhausted socio-political situation and economic structure amid the reality of the Philippines, and projects this constant experience onto her works.
Whether with the brick paintings or with the moving images of plain and common objects, Maria Taniguchi enforces the action of viewing upon our senses. During this process, the objects are reassembled conceptually, following the logic that is either established visually by the artist, or spontaneously formulated in the mind of the spectators. The consequence is the reinterpretation of the objects, and the attainment of sensorial and cognitive experiences.
The Averard Hotel