This exhibition aligns with notions of personal evolution and such temporal allusions. Symbols that anchor this phenomenon of becoming are metaphorically alluded to via impressions of spirituality in a personal aesthetic. Recurring images of sky and flame transit through Esquillo’s image-sequences in the form of portraits that are likewise in motion, breaking the static essence of a painting bound by the non-dynamism of its singular dimension.
Often affiliated with the lineage of Filipino artistic practice that portrays rhetoric surrounding societal discord of the nation’s political consciousness, Esquillo unearths the cultural ironies in the practice of faith and politics of his milieu. The artist, however, relates to this conjecture of the personal and the social within the self-referential criticality of his work. As a political stance and practice of faith, Esquillo’s paintings have a tendency to lean towards universal issues posited in the personal sphere of experience that runs in parallel to a society at odds with itself.