by Jennifer Bichara
Edwin Wilwayco’s art is unsolidified yet interspersed strokes of thick paint gracefully coated within the canvas. Each pigment judiciously sits on each other with a dramatic gesture and a premeditated chanciness that only masters can effectively execute. These expressive abstract paintings, like musical composition, send their audience into a soothing and meditative state like music on the walls, moving lyrically from piece to piece.
Wilwayco’s brushstrokes are an expressive freedom of direct movement and process while revealing inward reverie and painterly expression in his artworks. It encompasses an array of stylistic approaches; consisting of shapes, lines, and forms meant to create a separate reality from the visual world paying more attention to the surface quality and texture.
Surprising is Wilwayco’s fusion of form-making and chromatic enterprise technique of superimposition and removal of form burying layers and layers of pigment underneath only to emerge in unrelenting passages and intertwining contradicting colors that adumbrate each other.
Of Wilwayco’s work, noted art critic Cid Reyes has said: “The emanations of Wilwayco’s ardor and passion for nature (are) rooted in the landscape paradigm of so many abstractionists, from Hans Hoffman’s ‘I bring the landscape home with me’, and Joan Mitchell’s ‘I carry my landscapes around with me’, to Jackson Pollock, who thundered, ‘I am Nature!’ With such awesome forebears, (it is) no wonder that abstraction has become second nature to Edwin Wilwayco.” (Source: myhomedesign.ph)
The artist is more concerned with color and shape in order to create peaceful and spiritual paintings with no representative subject matter where he searches for answers to the questions of human existence.
Edwin Wilwayco’s “Gaudeamus Resurgent” speaks of personal psychological battles, the external struggle between man and nature, and the hunt for spiritual comfort in between. All of these concepts were expressed through this abstraction, finding meaning in relating the act of painting with a release of fresh and opulent, vivid and vibrant, a sheer display of the masterly of gesture, at once, impulsive and restrained, but with every move punctiliously considered and premeditated, to elicit a thrilling painterly grace and freedom results to an immediate but lingering, as though the viewer had experienced a direct assault on the retina.
There are works that defy uniformity, ingratiating disarray, an imprint made ineradicable by the sometimes prodigality of dripped pigment, thinned down to a lush fluidity. Overall, Edwin Wilwayco nurtures a quality of impenetrable voluptuousness and palpable enchantment.