A dash and a colon: punctuation marks we use to connect ideas and introduce further elaboration, context, and information. They signal pauses, interruptions, emphasis, and drama — exactly what A Dash, A Colon aimed to achieve.
This thought‑provoking tension between pause and movement is the conceptual heartbeat of the collaborative exhibition A Dash, A Colon at the Instituto Cervantes (Casa Azul) in Intramuros, Manila — a visual dialogue between two artists with distinct voices and modes of making.
Filipino artist Brisa Amir approaches art as both action and observation. She creates work through walking — noticing textures in the everyday, embracing unfinished spaces, cracks in walls, rainwater stains, and the imprints of motion and weather, then transforming these traces into layered paper‑based collage paintings.
A BFA Painting graduate from the University of the Philippines, Amir has exhibited locally and internationally — from her first solo at Artinformal in 2018, to a one‑woman presentation at S.E.A. Focus in Singapore, earning features in Artforum and Vogue Philippines, and the Ateneo Art Awards’ Embassy of Italy Purchase Prize.
Meanwhile, Cristina Gamón, a Spanish artist trained at the Faculty of San Carlos in Valencia, brings a different rhythm to the show. Known for her swirling, ethereal abstract landscapes, she pours layers of acrylic paint and raw pigment over laser‑cut plexiglass — the transparent surface allowing color and light to interplay with deep structural presence.
A recipient of prestigious awards, including the BMW National Painting First Prize by Queen Sofía in 2011, Gamón has held residencies around the world (from Manila to the Arctic and Paris) and continues to garner acclaim for the dreamlike complexity of her work.
Together, their works in A Dash, A Colon — presented in partnership with Instituto Cervantes and supported by the Embassy of Spain — run from January 26 to March 28 this year.
What unites these two visual languages is a commitment to seeing beyond the obvious. Their art challenges viewers to look past the flat white plane of a canvas, to witness surface and space as lived experience — to find meaning not only in gesture and mark but in context, material, pause, and flow.
It invites us to examine these works not at face value but as structures shaped by histories, movement, and tension — art that goes beyond the norm.