Pacita abad biography of mahatma
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Chati Coronel (b. 1970, Manila, Philippines; lives and works in Toronto, Canada) arrived at painting by way of a degree in Architecture from The University of Santo Tomas in the Philippines in 1991, establishing a distinguished practice that spans three decades. Coronel is known for her multi-layered paintings that employ a process she refers to as ‘Figurative Spatialism,’ in which she paints layers of abstract movement in raw strokes and contains them in a color space that forms the silhouette of a human figure.
Influenced by the principles of philosopher Rudolf Steiner and architect Louis Khan, as well as by the forms and traditions of poetry, children’s fables, and Tibetan Buddhist thought, Coronel draws on these seemingly disparate sources, convergent within her artistic practice, to delve deep into her subjects. She masterfully uncovers the essence of each subject, considering its origins and fundamental nature. Armed with this intimate understanding, Coronel reshapes and molds the subject into a futuristic tapestry of mythos, all through the medium of her art. Her work has been exhibited in galleries and art fairs in Los Angeles, Manila, Florence, Singapore, Seoul, and Hong Kong.
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February 20, 2025 – Review
“The Ecologies of Untouched II”Evan Moffitt
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How textiles tell a story of empire and globalisation
The art world is in the midst of a feverish correction of the canon — to include more women, artists of colour and media relegated to the lesser category of “craft”. Now, textile and fibre-based art, long marginalised thanks to its association with women’s work and non-western cultures, is in the spotlight.
At this year’s Frieze London fair, Cosmin Costinas, director of the Hong Kong non-profit ParaSite, curates a section called Woven that brings together the work of several generations of artists who, in one way or another, engage in the rich lineage of textiles, weaving, tapestries and embroidery.
The showcase is intended more as a mirror for our times than a market driver, Costinas says. “We wanted to reflect on the very particular moment that the UK is going through and its fraught connection to the world, its imperial history,” he said.
As the country grapples with its place in global geopolitics and the ghosts of its colonial past, Costinas sees an opportunity to connect Brexit angst to what’s happening around the art world, “in terms of decolonising our aesthetics, our visual languages and institutional infrastructure”. Textiles were once central to Britain’s relationship with its colonies, particularly the I