15 TRAJECTORIES
February 7 - March 21, 2026
15 Trajectories brings together fifteen artists whose practices unfold along distinct, yet intersecting paths shaped by material, discipline, and personal vision. The exhibition highlights the diversity of contemporary approaches to form—spanning painting, sculpture, and mixed media—while emphasizing the individuality of each artist’s creative evolution.
Emerging from the long shadow of modernism and its many stylistic movements, today’s artists operate in a landscape no longer governed by a single dominant “-ism.” Instead, they move through plural influences, cultural references, and experimental processes. This exhibition recognizes that shift: from stylistic conformity toward independent trajectory.
The participating artists represent varied origins of practice. Some began within graphic and formal traditions, others through experimentation and iconoclastic departures from convention. Their works demonstrate how visual language continues to be reinvented—sometimes through refinement, sometimes through disruption. Certain trajectories run parallel; others diverge sharply. Together, they form a constellation of methods and sensibilities rather than a unified school.
At its core, 15 Trajectories is about artistic initiation and continuation: the moment one faces a blank surface or raw material and commits to a direction without certainty of outcome. Each work stands as evidence of that decision—to begin, to pursue, to persist. The exhibition invites viewers to encounter these paths not as conclusions, but as living processes still in motion.
Exhibition Notes by Raul G. Rodriguez.
SUGOD
February 7 - March 21, 2026
The Paradox of Beauty and Destruction
SUGOD examines the uneasy relationship between beauty and violence, attraction and consequence. The exhibition centers on sculptural airplane forms—primarily crafted in wood and fabric—each interpreted and painted according to the distinct visual language of the participating artists. These objects are immediately compelling: aerodynamic, elegant, and visually striking. Yet their historical and functional reality is inseparable from warfare and devastation. The show asks viewers to sit within this tension rather than resolve it.
Across history and myth, beauty has never been purely benign. It has moved armies, justified conquest, and disguised harm beneath seductive surfaces. In the same way, the warplane stands as a paradox of human ingenuity: a feat of design and engineering whose very excellence serves destructive ends. Its sleekness is not incidental to its purpose—it is integral to it. Form and violence are fused.
In SUGOD, artists reclaim this charged symbol and transform it through material and gesture. By rendering aircraft in handcrafted media and personal styles, they interrupt the language of militarization and reframe it through reflection, critique, and imagination. Each piece becomes both artifact and question: What do we admire? What do we normalize through aesthetics? When does fascination become complicity?
The exhibition emerges at a time when images of conflict circulate rapidly and repeatedly, risking desensitization. These works resist passive viewing. They invite closer inspection and ethical awareness, encouraging audiences to recognize how visual power can both conceal and reveal truth.
Rather than offering a single conclusion, SUGOD opens a space for confrontation and responsibility. It proposes art as an act of awareness and response—where beauty is neither rejected nor blindly celebrated, but examined, challenged, and redirected toward consciousness and choice.
EXPLORATION OF FORM
February 7 - March 21, 2026
David Lubotsky is a multidisciplinary artist whose practice moves between ink drawing, painting, and direct marble carving, guided by immediacy, intuition, and a deep commitment to authenticity. Beginning his artistic path through illustration and acrylic painting while attending fine art courses in the mid-1990s, he soon shifted focus to stone, teaching himself sculptural methods outside academic systems. What began with hand-drilled stone fountains evolved into a lifelong exploration of form through subtractive carving.
For over three decades, Lubotsky prefers a hands-on, solitary approach to creativity. He rejects computer-aided design and automated fabrication, choosing instead to shape each work himself—from first cut to final polish. Since relocating to Romblon in 2010, he has built an extensive body of one-of-a-kind marble sculptures using locally sourced and often rare stones, working from an open-air mountain studio overlooking the sea. His forms are biomorphic and non-representational, refined through observation of natural forces such as water flow and aerodynamics. Each sculpture becomes an object of contemplation—an honoring of material shaped over millions of years and transformed through human touch.
Alongside sculpture, Lubotsky maintains an evolving series of ink drawings begun during the global lockdown period. Using ballpoint pen on paper, he develops bold, continuous-line compositions that resemble woodblock prints yet remain entirely freehand. Governed by self-imposed visual rules, these works function as a personal design language—meditative, immediate, and emotionally direct. Selected drawings later inform larger paintings and limited-edition prints.
Across media, his process is rooted in risk and presence: first marks, first cuts, no predetermined outcome. Line and mass emerge from void through decisive action. Minimization of form becomes a path toward clarity and tranquility amid contemporary noise. Working in close relationship with nature, Lubotsky creates artworks that function as quiet sanctuaries—artifacts of time, labor, and faith in the creative act.