In the Viewing Room, Filipino-American artist Keka Enriquez makes her highly anticipated return to the art world in Keka Enriquez: Odds and Ends, an exhibition unveiling four new works after the artist's 20-year hiatus from painting. Renowned for her evocative paintings and installations exploring the psychological and social facets of home, identity, memory, and displacement, Enriquez first gained recognition under the preeminent Filipino artist Roberto Chabet's mentorship. As a Filipino diasporic artist, she portrays Western interiors, critiquing mass media's normative ideals. Appropriating a Neo-Expressionist style, Enriquez disrupts institutionalized conventions of gender, race, and citizenship, embracing a transcultural subjectivity to reveal alternative perspectives withinher paintings.
Regarded in the Philippines as one of the foremost artists of her generation in the 1990s, Enriquez exhibited in the The Second Asia-Pacific Triennial of Contemporary Art and received the Cultural Center of the Philippines' Thirteen Artists Awards. In 1998, Enriquez relocated to San Francisco anddeparted from the art world completely. After almost a quarter century, Enriquez's return to art signals a new chapter in her artistic journey. Odds and Ends showcases her evolved style, which remains tactile, sensuous, bold, yet is marked by a newfound sense of looseness and freedom.
Keka Enriquez's exhibition coincides with Silverlens' solo presentation of Modernist Leo Valledor at Frieze New York. Valledor, born and predominantly working within the San Francisco Bay Area, is widely acknowledged as one of the most influential Filipino American artists in US history. This convergence, taking place during Asian American and Pacific Islander Heritage Month, offers a unique opportunity to explore the dynamic interplay of Filipino diaspora artists, emphasizing the profound legacy of Asian American artistic expression in the San Francisco Bay Area.
Press release courtesy SILVERLENS.
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