ARTIST

マーヴィー・プエブロ

Mervy Pueblo
マーヴィー・プエブロ
出身地：Philippines
活動地：Rosario, Cavite

私たちが知る、理解する、想像できることは全て、世界との関係性から生まれます。私たちの意識の全体性は、潜在意識でさえ、相互関係によって成り立ちます。世界に参加し交流して得る経験は深い洞察をもたらし、それは限りない創造性を高めます。私が重きを置くのは知性の正当化ではなく、アートの作風や流行ではなく、実存主義への関心です。それは間主観的な現実（コインの表裏、グレーな領域、愛、憎しみ、恐れ、勇気にまつわる人々の間の計りきれない、または定義できない関係）に関します。
日常の不明瞭さと明瞭さを理解するには、現在の状況を明確に把握する必要があります。したがって、アマチュアの民族学者は世界を深く体験するために、フィールドワークを通じて文化に浸ります。この理屈抜きの本能的な体験により、アーティストは世界を拡大して見ることができます。歯磨きから愛の営みまで、もっとよく調べてみれば、それをさらに体験したり理解したりできることは明らかです。そのため、私にとってアートは拡大鏡のようなものであり、近すぎて見逃しがちなものを意識するのに役立ち、結果的に私たち自身の行動について考えさせるものです。
共有可能で、直接的で、正直で真実であるため、対話とは非常に美しいものです。それは私たちに現実を感じさせ、体験させます。だからこそ私にとって他の人々との繋がりは、世界への理解がもう少し広がる可能性をもつからこそ、私が作る物や状況よりも重要です。

 

Everything that we know, understand, and can imagine comes from our relationship with the world. The wholeness of our consciousness, even the subconscious, is constructed by interrelation. Through interacting and participating in the world, experience brings deeper insights that foster unlimited creativity. It is not the intellectual justification that I focus on in my practice, but rather my real concerns – not art style or trend, but the interest in existentialism. It is about the intersubjective real : the two sides of the coin, the gray area, the unquantifiable, or indefinable relation between people in terms of love, hate, fear, and courage.

Penetrating the obscurities of quotidian life and its articulation requires a clear view of the present condition. Hence, through fieldwork, the lay ethnographer becomes an observer and applies the method of cultural immersion to have a visceral experience of the world. With this visceral experience of the world, the artist can have a magnified view of the world. From brushing our teeth to making love, it is no secret that we can experience or understand it a bit more through closer inspection. Hence, art for me becomes like a magnifying lens that helps us to be more aware of what is right under our nose, which consequently leads us to reflect our actions.

Dialogue is deeply beautiful, as it is shareable, direct, and honestly truthful. It makes us feel or experience the real. Thus, to me, connecting with another human being is more important than the objects and/or situations I construct as it may open up our understanding of the world a little bit more.

CV

MFA in Visual Studies with units in Art Education, MCAD, MN, USA (2013)

AWARDS

Marciano Galang Art Prize 2020

Ateneo Art Gallery/Arete, QC, Metro Manila, Philippines, November 2020

Award for Continuing Excellence and Service (ACES)

Metrobank Foundation Inc., Manila, Philippines, February 2019

Semi-finalist, Metrobank Art and Design Excellence National Sculpture Competition
Metrobank Foundation, Inc., Philippines, 2018

MCAD Nominee, AICAD Teaching Fellowship, USA/Canada, 2016

Winner, Thirteen Artist Awards, Cultural Center of the Philippines, 2015

Helena Z. Benitez Artist-in-residence Award, The Philippine Women’s University, 2013-15

Winner, Ethel Morrison Van Derlip Award
MPLS, MN, USA, 2013

Ateneo Art Awards: 2012 Exhibition Competition, Ateneo University, Philippines, 2012

Best in Show, Made@MCAD B.I. Worldwide Gallery, Minneapolis, MN., 2012

Principal Scholarship Award, Fulbright-Philippine American Education Foundation, 2011-13

Trustee Scholarship Awardee, Minneapolis College of Art and Design, 2011-13

Finalist, Metrobank Art and Design Excellence, National Sculpture Competition, Metrobank Foundation, Inc., Philippines, 2007-2010

Special Citation, MADE, National Sculpture Competition, Metrobank Foundation, Inc., Philippines, 2006

Recognition of Talented Youth in the Arts, Office of the Pasig-Quezon City Mayor, 2006

Dean’s List, St. Scholastica’s College de Manila, 2001 & 2003

ARTWORKS