The exhibition is Nada’s fifth solo show, coming off of a hiatus of six years since his fourth. So the title “Homecoming” is fitting, marking his return to the gallery setting. Those familiar with his personal street art style and murals scattered around the San Juan and Quezon City area will be interested to see how his style has evolved. And evolved it has, revealing a secondary meaning to the show’s title: come into the Nada household.
Marcushiro labels himself as a multidisciplinary artist, and the discipline that he’s chosen to exercise here is primarily wood assemblage. Constructed out of what appears to be discarded and found objects, you’ll spot many children’s toys in the mix. As with any abstract work, the interpretation of Nada’s message is largely up to the person viewing the work.
Since fatherhood seems to have played into the exhibit’s theme, I brought my own daughter, Jo, to view the show. Jo is four years old, and I asked her what she saw in each piece. Among her answers were ray-guns, guitars, toy boats, and submarines. I wonder if these are indeed items scattered throughout Marcushiro’s home?
A little bit of music, a little bit of play, a little bit of disorder, a little bit of structure. A story plays out where all these things eventually find a natural balance.
There’s nothing random in what the artist has put together here, although it might appear so at first glance. So it’s imperative to take your time and look for a longer period of time. If this kind of art appeals to you, it’s a show you should go see in person. The sculptural assemblage work makes it necessary to get up close with the art and move your head around it. And maybe you’ll also be able to get your head around what it is that Nada is trying to convey too.
