Martino Alcoseba Abellana’s “David” is also named “Boy with Slingshot.” The late Cebuano master artist had a habit of giving some of his paintings two titles, separating these with a colon. The boy holds a slingshot, as if guarding the grove of trees behind him against some unseen enemy. The enemy? Maybe time itself. Or perhaps something even more profound.

Result #1

Martino Alcoseba Abellana’s “David” is also named “Boy with Slingshot.” The late Cebuano master artist had a habit of giving some of his paintings two titles, separating these with a colon. The boy holds a slingshot, as if guarding the grove of trees behind him against some unseen enemy. The enemy? Maybe time itself. Or perhaps something even more profound. The image is a familiar one: a young boy who appears to be wandering through the forest, or maybe in the forest, or maybe just out of the woods. The boy disappears into the forest, then reappears, only this time with a slingshot, a new weapon. He seems to be the one who takes the slingshot, and he disappears again. He reappears, and again, and again, and again. It doesnt matter, though. There is no mystery here. It is all there. The mystery is the mystery of life, the mystery of the unknown. And theres no mystery in the unknown, no mystery at all.All the paintings in this exhibition are called K-Hole, and this is the title of one of the works. In fact, this K-Hole is not the K-hole of the past, but the K-hole of the future. The work is a circular, horizontal, or vertical arrangement of the elements, and the paintings are arranged in a grid or a line. The grid is broken up, and the pieces are cut out and rearranged, and the images are cut and pasted. The lines are drawn in such a way that the pieces are painted on, and the paintings are pasted and cut into. The works seem to be moving in a direction that is both light and dark, and the colors are both saturated and muted. The K-hole is the artist himself, and the work is his diary of events and of his feelings about the world.Abellanas paintings are not just images of the unknown, but also of the world. They are a reflection of the human condition. They are a reflection of the artist himself, the artist who makes the paintings. The works become a reflection of his own dreams, dreams that he confronts with his own reality. But they are not merely a reflection of the artist.

Result #2

Martino Alcoseba Abellana’s “David” is also named “Boy with Slingshot.” The late Cebuano master artist had a habit of giving some of his paintings two titles, separating these with a colon. The boy holds a slingshot, as if guarding the grove of trees behind him against some unseen enemy. The enemy? Maybe time itself. Or perhaps something even more profound. The man looks to be in his thirties, perhaps in his mid-forties, and his face is a face of granite. The granite is soft and shiny, and there is a hint of skin in his hair, as if he had had a long, flowing beard. His skin is white, like the skin of the moon, but his hair is dark and curly. His skin is white and his hair is black. He is naked except for a sliver of skin over his right shoulder. The slingshot is a beautiful thing. I couldnt help but think of Bernard Marquet, and perhaps of the seventeenth-century Portuguese painter Diego Cortez. His slingshot is a beautiful thing, too. It is a symbol of the self, a talisman of the ascetic. The boy has absorbed the sacred, the body of knowledge, the root of the roots of the earth. He has absorbed the power of a god and the powers of the universe. He has absorbed the roots of knowledge, of the earth. He has absorbed the power of the past, the earth. The boy is a stone, a stone, a tree, a tree. He is a living stone, a living being, a stone, a living being. And he is an important one. He is a symbol of the self, a talisman of the ascetic.The boy has absorbed the roots of knowledge. He has absorbed the power of a god and the powers of the universe. He has absorbed the roots of knowledge, of the earth. He has absorbed the roots of knowledge, of the sun. He has absorbed the roots of knowledge, of the mind. He has absorbed the roots of knowledge, of the soul. He has absorbed the roots of knowledge, of the spirit. He has absorbed the roots of knowledge, of the body. He has absorbed the roots of knowledge, of the mind. He has absorbed the roots of knowledge, of the soul.

Result #3

Martino Alcoseba Abellana’s “David” is also named “Boy with Slingshot.” The late Cebuano master artist had a habit of giving some of his paintings two titles, separating these with a colon. The boy holds a slingshot, as if guarding the grove of trees behind him against some unseen enemy. The enemy? Maybe time itself. Or perhaps something even more profound. He holds the slingshot in his hand like a priest in a ceremony, as if it were a relic from some sacred rite.The exhibition opens with a large drawing of a boy holding a slingshot in a landscape, framed by a tree that has been cut into the landscape. The landscape is the artist's imagination, as he has described it. The drawing is based on a photograph of a playground in Buenos Aires that he took from the window of a house. In it, the boy's right hand is visible, and he holds a slingshot in one hand. The scene is a playground, but one that the artist sees as a landscape of rocks and trees. The landscape is the Argentinean Azul, the theme of which is Azul's world. The setting is a playground. But the signs are different: a small hand-drawn map of the city, with the city's name written in black. The signs are inscribed on a playground chair. A small, bright, red playground ball, and a ball made of glass is balanced on a wooden armature. The whole scene has been painted white, except for a small, red square on a white-painted fence, which marks the spot where the boy's hand has touched the glass. The painting seems to be a playful commentary on the myth of the innocence of the playground.But this is not the only theme of the work. The drawings of a female figure, painted in a more conventional style, are also contemporary interpretations of the landscape. The female figures legs are crossed, as if in a simple movement. She has been painted white, and her hands are visible. But her left leg is not visible, and the hand seems to be pointing toward the white-painted fence. The landscape is now in the hands of the artist, who can now only imagine that the female figures legs might have fallen off the fence.

Result #4

Martino Alcoseba Abellana’s “David” is also named “Boy with Slingshot.” The late Cebuano master artist had a habit of giving some of his paintings two titles, separating these with a colon. The boy holds a slingshot, as if guarding the grove of trees behind him against some unseen enemy. The enemy? Maybe time itself. Or perhaps something even more profound. The boy, a young man in a simple white T-shirt, shorts, and sneakers, seems to be looking at a small, black-framed camera that appears to be plugged into a hole in the wall. Is this a show of the artist himself? Or is this just a friendly, nostalgic gesture toward the past? Perhaps the boy is looking at his slingshot in a pool of water. The camera is fixed on him, but he is not there. Perhaps he is being watched from the sidelines. Is he alone? Is he an artist? Is he an intruder? Is he a child? An artist? The boy stares at the camera with a cool, detached calm that suggests a contemplative silence. Is he being watched? The boy seems to be watching himself, and perhaps he is an artist as well as a viewer.

Result #5

He is at the end of his rope, and the next figure will be the one who takes his place in the world.The entire exhibition of the first part of the exhibition, which opened in a former museum, was devoted to the work of the artist's friend, the artist's son, and their son. The exhibition, which was organized in collaboration with the gallery, included a number of drawings, sculptures, photographs, and paintings. One was immediately struck by the breadth of the artists' knowledge of art history, and by their love of both art history and nature. They were aware that their father, the artist, was a well-known pioneer of contemporary art in Cebuano, and that his son, who was born in 1974, had recently won the Prix dArt Contemporain de Montparnasse. In addition, the two were familiar with the work of artists such as André Kertész, Edgard Varèse, and Robert Ryman. The latter's influence is obvious in this artists' work, and it can be seen in the fact that they both show a great deal of affection for nature. These two brothers, who share a passion for painting and an interest in the natural world, are not only aware of the significance of their fathers' works in the history of art, but also of the significance of the artists' interest in the relationship between art and nature. The son has always been interested in the natural world, and in his paintings he has been particularly concerned with the relationship between art and nature. For him, as for his father, art is a reflection of nature, and he deals with it with a thoroughness that surpasses even his father's ability.