ctrl +p
Beejay Esber
10 November – 09 December 2018
Curated by
10 November – 09 December 2018

Snared by the endless and quotidian rhythms of the digital age, Beejay Esber’s ctrl +p mimics and demonstrates machine-like processes usual in today’s production while questioning the space and place of man’s will, choice, and control as it sits in the midst of this Sisyphean tragedy. The grind of the modern world ruled by the virtual barrage of information brings forth an amalgamation of images, words, and figures that fail to make connections—an irony where the convenience of linkages sacrifices senses of inquiry.
Esber takes off from his childhood when science fiction dominated popular culture, as he goes back comics, books, animations, and isometric forms from the 1980s and 1990s that are currently resurfacing today. The timbre of its colors carries with it its signature brightness, as though unencumbered by the burden of trend and mainstream following. Similar to the merging of seemingly disparate contrivances found on the internet, he also incorporates methods and characters found in Chinese and Japanese brush calligraphy, known for its precision. This is however subverted as ideas of perfection are disputed with every stroke of the brush that allows images to imperfectly flow on the canvas.
Perhaps the point is not merely to make sense than to gather and keep the question going. Capturing the sensation of being mired in a cyber world, man’s position shifts from one who dictates to one who merely receives. He too has become an object in the time of automated dictations.
Exhibition Documentation
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- CTRL+P
Oil on canvas
48" x 60"
2018 - Corporeal Wilderness
Oil on canvas
48" x 48"
2018 - WW-101
Oil on canvas
48" x 48"
2018 - Son of the Cyber God
Colored leaf and oil on canvas
68" x 68"
2018 - Stardome Virtual Eden
Oil on canvas
68" x 68"
2018 - Fossils from Digital Age
Oil on canvas
96" x 60"
2018 - Fluxxzvfkra Dessert
Oil on canvas
60" x 60"
2018 - Simulated Dream Generator
Oil on canvas
60" x 72"
2018
Exhibition View
360° View
Video Catalogue
About the Artist
About the Artists
Beejay Esber (b. 1980, Malabon) graduated Fine Arts major in Advertising at the Technological University of the Philippines (2005), and is known for his canvases that have been described as “eclectic and phantasmagoric abstraction,” making use of myriad colors the visual spectrum, from somber shades to neon bright hues.
In another dimension to his abstract pieces by incorporating found materials—cardboards, stickers, holograms, and glittery paper—the solemnity (and purity) of the abstract form is undermined by Esber’s inclusion of common school and hobby materials inside the frame. Their combination with his similarly cartoonish and candy-coated acrylic paintings provides a light moment against the di cult nature of abstraction and is a fresh outlook on the possibilities of painting and its relationship with the surface material.
Along with his appetite for album covers, psychedelia, science fiction (robots, UFO’s, and analog synthesizer sounds), comics, and wasteland / post-apocalyptic movies, Esber’s paintings would resemble cerebral fragments of contemporary society in abstract expressionist form.
Related Exhibitions
About the Artists
About the Artist
Beejay Esber (b. 1980, Malabon) graduated Fine Arts major in Advertising at the Technological University of the Philippines (2005), and is known for his canvases that have been described as “eclectic and phantasmagoric abstraction,” making use of myriad colors the visual spectrum, from somber shades to neon bright hues.
In another dimension to his abstract pieces by incorporating found materials—cardboards, stickers, holograms, and glittery paper—the solemnity (and purity) of the abstract form is undermined by Esber’s inclusion of common school and hobby materials inside the frame. Their combination with his similarly cartoonish and candy-coated acrylic paintings provides a light moment against the di cult nature of abstraction and is a fresh outlook on the possibilities of painting and its relationship with the surface material.
Along with his appetite for album covers, psychedelia, science fiction (robots, UFO’s, and analog synthesizer sounds), comics, and wasteland / post-apocalyptic movies, Esber’s paintings would resemble cerebral fragments of contemporary society in abstract expressionist form.