
Untitled (After Hidalgo, La Barca de Aqueronte), 2018
Laser carved cardboard
170 x 223.5 cm (67 x 88 inches)
In her solo installation for Art Basel Hong Kong Discoveries 2019, presented by 1335MABINI, Jill Paz revisits and reinterprets the body of works of the late 19th century Filipino painter Félix Resurrección Hidalgo (1855-1913), an enigmatic figure in Philippine art history and a great grand-uncle of hers. During his lifetime, Hidalgo would move and work constantly between Europe and Manila, underscoring both the assimilation of influences and diasporic nature that have characterized the practice of many Filipino artists up to today. Paz’s ancestral homage delves into the unstable nature of the past: as fragments, shards and recollections. ‘Grove of Trees’ as a whole, explore the need and subsequent limitation for repair and renovation, rendering the limits between object and being, history and folklore, fact and fiction, permeable.
Untitled (After Hidalgo, Per Pacem et Libertatem, painting), 2018
Laser carved cardboard
127 x 89 cm (50 x 35 inches)

Untitled (After Hidalgo, Las Jovenes Christians Expuestas al Populacho), 2018,
Laser carved cardboard
170 x 231 cm (67 x 91 inches)

“In her artworks, Jill Paz examines changed states. The artist explores our desire to renovate and seeks to find out what is lost in the process. She is interested in new edifices created from existing structures and pores over how old skeletons inform new flesh. This brings forth questions about the need for, and limitations of, renovation. Paz’s works are detailed approximations crafted with photography, painting, computer programs, and laser-cutting technology, which she uses to bore, etch, and puncture delicate layers on cardboard. She demonstrates the transient and vulnerable nature of paintings, opening up possibilities for the past to be rewritten.”
Untitled (After Hidalgo, El Artista y su Modelo), 2018
Laser carved cardboard
68 x 114 cm (27 x 45 inches)
