Carina Samantha Santos


I make stuff up


London & Manila

— MRes Art: Theory & Philosophy, Central Saint Martins


ABOUT
ART
DESIGN
WRITING

Etc.

SELECTED WORK ︎


Editorial design & illustration

CNN Philippines Life
Esquire Philippines
Rogue Magazine


Book design

A Waiting Room Companion

The First Impulse

Cupid’s Rage

Taming People’s Power


Music

Don’t Forget, Clementine

Bones Like Snowflakes

Winter Quay/Summer Blankets

SELECTED LETTERS ︎


“There’s something really funny about our music, because it’s often so heart-on-your-sleeve, a little bit. We know how that can be embarrassing. We’re just not worried about embarrassing ourselves anymore.” ¹ The album is an intimation of loss, self-destruction, and the possibility of redemption. ² It’s a song for when life gets too heavy, and you need a song you can sink into — just for four minutes — so you don’t drown inside yourself. ³ 


Group exhibit — Galerie Roberto

As Far As Near As Deep As Wide and Tall



— Minor Injury
— I Never Know Where I Am


23 September — 14 October 2017
Curated by Lena Cobangbang


The space we make for ourselves is as far as wide as deep and wide and tall as the reach of our senses, in accordance with an Aristotelian worldview.

Man’s relationship with nature, how he deals with, perceives it, quantifies it, pictures it, imagines it, experiences it, speaks of it. Drawn and quartered, mapped, depicted, rules of perspective. We measure it by how far our perception of it. Do we understand it really or just on our own terms?

“Everything has its form and specttre.” (Blake)
“The mind was dreaming. The world was its dream.” (Borges)

“A man sets out to draw the world. As the years go by, he peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, instruments, stars, horses, and individuals. A short time before he dies, he discovers that the patient labyrinth of lines traces the lineaments of his own face.”
― Jorge Luis Borges, The Aleph and Other Stories

“Man's memory shapes
Its own Eden within”
― Jorge Luis Borges, Dreamtigers

“Of all man’s instruments, the most wondrous, no doubt, is the book. The other instruments are extensions of his body. The microscope, the telescope, are extensions of his sight; the telephone is the extension of his voice; then we have the plow and the sword, extensions of the arm. But the book is something else altogether: the book is an extension of memory and imagination.”
― Jorge Luis Borges
“Two aesthetics exist: the passive aesthetic of mirrors and the active aesthetic of prisms. Guided by the former, art turns into a copy of the environment's objectivity or the individual's psychic history. Guided by the latter, art is redeemed, makes the world into its instrument, and forges, beyond spatial and temporal prisons, a personal vision.”
― Jorge Luis Borges

The answer is illusion – to represent the three dimensional world on the two dimensional surface the artist has to use systems of illusion that create the impression of space, of depth and of movement.

Transformation of nature into spectacle
The picturesque as resource, view as commodity.





“If we add nothing beautiful to the landscape, does what we preserve turn into mere inauthenticity and parodic self-representation?”

“Imagination is the world we live in, not some abstract realm of ideas.” (Blake)

A way of experiencing the world = a gathering of objects (empiricism)

According to Descartes, wonder as prompting an urge to explain or to give an account, is the root of science. With wonder, you wish to understand how you come to be astonished, wonder as a response to landscape.

The sublime can stop you seeing. It begins as a heightened response and ends as an ossified response that intercepts itself about today between person and place.

Inadequacy of representation = “indescribable” — how to quantify or objectify?, sublime — abstract – ideal – nature as metaphor – imagination – vision

But nature is indifferent to their pictures and their picturers.

“Do not conflate the power of nature with the power of your own mind.” (Kant)

“The beautiful in nature is a question of the form of object, and this consists in limitation, whereas the sublime is to be found in an object even devoid of forms, so far as it immediately involves, or else by its presence provoke, a representation of limitlessness, yet with a superadded thought of its totality.” – the capture of the beautiful in nature is a representation of pure form, and it astonishes before one has a chance to distance oneself from such intense immediacy.

“Through the irresistibility of nature might make us, considered as natural beings, recognize our physical impotence, it reveals in us at the same time an ability to judge ourselves independent of nature, and reveals in us a superiority over nature that is the basis of a self-representation quire different in kind from the one that can be assailed and endangered by nature outside us. This keeps the humanity in our person from being degraded.” — Lena Cobangbang


— installation view


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