Here is a thing about cycles: there is repetition. There are expected results. There is a constant toil to produce. But the silver lining: there is transformation.
In her first solo show, Potti Lesaguis focused on the shifts, the little tremors that trigger change. These quakes, both innate and external, all registered a movement in the Richter scale of her process. In her choice to construct is a decision to deconstruct. The polarization is present as she aims to undo a cycle by upending the predictable. Lesaguis punctures the cycle diagram by giving you what you didn’t expect.
She is the master of her own production. The process, the results, the cycle – these are her own. The materials – all from her immediate surroundings – are chosen at random, a seemingly nonsensical approach that immediately evaporates once the artist’s imagination of adding, holding back, and putting together only to break it apart at the end, comes into play. The materials are given back to nature but not how nature intended it to be. A cactus in plush toy form still prickly with pins; artificial greens meant to resemble grass is grown in a shelf; dried paint, usually discarded, are treated like patchwork; illuminating silvered wood, like a tree catching the kiss of a lightning – the play of elements are experimental yet coherent.
Her main piece is composed of dried paints accumulated since the time she began painting. These were originally for a sculpture but the idea never took flight. In place of regret for a lost opportunity came a recourse. The dried paints were used to create a large piece to signify the end the phase of painting as part of her process. This is Lesaguis breaking away from the doldrums of her early years as an artist, where she felt trapped by her compulsion to create cleanly, “to color inside the lines” as she puts it.
Her vision as an artist, which she describes as “abstract non-representational” is more visible.
Lesaguis has come a long way since finishing her BFA Advertising Arts course from FEU. Now that she has her own studio, she is able to claim a stake on her perspective. The things she see and hear are all hers and this clear ownership has emboldened her. Like a scientist in a lab, she is not content with simply mixing compounds together. What she waits for is the explosion for what is creation if there is no destruction? To reword TS Eliot: this the way her process ends and starts again, not with a whimper but with a bang.