Whenever the name Joan Punyet Miró comes up, it is almost impossible not to initially think of his grandfather, the legendary painter and sculptor Joan Miró. Yet, during the previous visit to Manila of the younger Miró, he successfully carved out a distinct identity of his own.
His initial exhibition, Punyet L’Azur: A Homage to Mallarmé at Leon Gallery International, filled the space with expansive seas of blue. The obras mystically enveloped guests in a singular atmosphere, as testimonial photographs and archival videos of the artist standing, sitting, lying down, and even embracing the canvas displayed a physical yet meditative approach.
So when his second exhibition, Oneness, commenced, I expected a similar presentation. Perhaps another immersion into a dominant hue, possibly a series of monumental compositions? Surprise, surprise! Instead of vast expanses of blue, several walls were splattered with 80 square blocks of primary colors — each executed in acrylic on canvas mounted on wood. The spectacle was minimalistic at first glance, yet it buzzed with energy collectively!
Every piece had its own title. However, it was often the accompanying quote written by the artist himself that captured attention first. Some read like verses, others philosophical reflections. “If there is a realm where men can be truly free, is in the world of dreams,” declared one. Short quips included “Nothing but love can save the world,” and “White is just eternity.”
Another offered, “Powerful branches don’t bend with the wind, let the water undo your will. When the rising sun is clothing the day, surrendering may be the only way.” Still one more read, “Mother Nature shines in green, her glow feels as the light of a tree. A living open gate vibrates before me, capturing soul to soul on a wave in the sea.”
The scripts were reflective and introspective, lyrical and poetic.
I instantly found myself quick-footed as I paced from one work to another. The curiosity simply became irresistible — I truly felt like I was slowly turning the pages of a personal journal. What would the next quote say? What thought would accompany the next burst of color?
Some statements prompted immediate agreement. Others made me pause and think. A few validated some ideas. Certain lines brought involuntary smiles from patrons, whether out of amusement or recognition.
There were canvases where attendees stood for long stretches, seemingly lost in contemplation. Couples sparked debates, with some openly questioning the sentiments expressed, while several quotes carried a cathartic quality. On more than one occasion, I noticed strangers striking up conversations as both viewers resonated with a number of passages.
At the far end of the exhibition hall stood an entire partition with branches and twigs, as though nature itself granted these inanimate fragments a second lease on life. It was juxtaposed by a blue backdrop with a hand-painted white inscription: “Leafless trees / faceless wind / heartbeats rhythm bloom under: / the magical weight of our love.”
Leaving the gallery, I found myself wondering what Joan Punyet Miró would bring the next time he returns to Manila. His first exposition immersed us in waves of blue. His second invited us into a dialogue of color and words. He continues to amaze and astonish, surprise, startle, and shock. And I’m excited for what the future holds.
¡Bravo, Leon Gallery International!
¡Enhorabuena Joan Punyet Miro!
