Patricia Perez Eustaquio

Bio

Patricia Perez Eustaquio (b. 1977, Cebu, Philippines; lives and works in Benguet Province, Philippines) is known for works that span different mediums and disciplines—from paintings, drawings, and sculptures, to the fields of fashion, décor, and craft. She reconciles these intermediary forms through her constant exploration of notions that surround the integrity of appearances and the vanity of objects. Images of detritus, carcasses, and decay are embedded into the handiwork of design, craft, and fashion, while merging the disparate qualities of the maligned and marginalized with the celebrated and desired. From her ornately shaped canvases to sculptures shrouded by fabric, their arrival as fragments, shadows, or memories, according to Eustaquio, underline their aspirations, their vanity, this ‘desire to be desired.’ Her wrought objects (ranging from furniture, textile, brass, and glasswork in manufactured environments) demonstrate these contrasting sensibilities and provide commentary on the mutability of perception, as well as on the constructs of desirability and how it influences life and culture.

Eustaquio has gained recognition through several residencies abroad, including Art Omi in New York and Stichting Id11 of the Netherlands. She has also been part of numerous notable exhibitions, such as The Vexed Contemporary in the Museum of Contemporary Art and Design, Manila; That Mountain is Coming at the Palais de Tokyo in Paris, France; and An Atlas of Mirrors in the 2016 Singapore Biennale. She is a recipient of The Cultural Center of the Philippines’ Thirteen Artists Awards.

Patricia Perez Eustaquio (b. 1977, Cebu, Philippines; lives and works in Benguet Province, Philippines) is known for works that span different mediums and disciplines—from paintings, drawings, and sculptures, to the fields of fashion, décor, and craft. She reconciles these intermediary forms through her constant exploration of notions that surround the integrity of appearances and the vanity of objects. Images of detritus, carcasses, and decay are embedded into the handiwork of design, craft, and fashion, while merging the disparate qualities of the maligned and marginalized with the celebrated and desired. From her ornately shaped canvases to sculptures shrouded by fabric, their arrival as fragments, shadows, or memories, according to Eustaquio, underline their aspirations, their vanity, this ‘desire to be desired.’ Her wrought objects (ranging from furniture, textile, brass, and glasswork in manufactured environments) demonstrate these contrasting sensibilities and provide commentary on the mutability of perception, as well as on the constructs of desirability and how it influences life and culture.

Eustaquio has gained recognition through several residencies abroad, including Art Omi in New York and Stichting Id11 of the Netherlands. She has also been part of numerous notable exhibitions, such as The Vexed Contemporary in the Museum of Contemporary Art and Design, Manila; That Mountain is Coming at the Palais de Tokyo in Paris, France; and An Atlas of Mirrors in the 2016 Singapore Biennale. She is a recipient of The Cultural Center of the Philippines’ Thirteen Artists Awards.

Death of Magellan (After Amorsolo)
2019
7107
1
digitally woven tapestry in cotton and wool
161.42h x 114.96w in • 410h x 292w cm artist proof
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SPI_PE096
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Untitled (Canyons)
2022
8783
1
graphite on acid-free paper
38.98h x 30.91w in • 99h x 78.50w cm (framed) 27.56h x 19.69w in • 70h x 50w cm (unframed)
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An Unraveling (Conversation Among Ruins, After Amorsolo)
2019
7111
1
digitally woven tapestry in cotton and wool
114.17h x 91.34w in • 290h x 232w cm
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SPI_PE047_001
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Boom VII
2021
7106
1
acrylic on aluminum, tapestries
76h x 51w in • 193.04h x 129.54w cm
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Untitled (Flowers for, Il)
2021
7105
1
oil on canvas
42 in • 106.68 cm (diameter)
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Shamanisms (drawing I)
2018
7100
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graphite and gold leaf on paper
59.06h x 39.37w in • 150h x 100w
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Psychogenic Fugue
2008
808
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crochet lace and epoxy
42.5h x 83w x 41d in • 108h x 212w x 104d cm
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Dear Sweet Filthy World IV
2010
810
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cardboard
variable dimensions
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The Future That Was (Reflections)
2013
811
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Metal, cane (solihiya), paint, mirrors on fabric
variable dimension
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That Mountain is Coming
2016
814
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digital print on canvas, wood
dimensions variable
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The Hunters Enter the Woods
2016
815
1
oil on aluminum panels
300h × 540w cm (installed width of diptych)
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Flowers for X, I
2016
816
1
oil on canvas
60.04 in • 152.5 cm (diameter)
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Untitled (Carcass)
2016
817
1
digital print on silk dupion
393.70h x 53.54w in • 1000h x 136w cm
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Untitled (Spears), (detail)
2016
818
1
epoxy paint, PVC pipe, found (plastic) flowers/objects, gold aluminum wire
dimension variable
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Untitled (Millefleurs) I
2017
819
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tapestry
58h x 36.25w in • 147.32h x 92.08w cm
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Edition of 3
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Untitled (Still Life 5)
2017
820
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plaster, wood, polyurethane, acrylic paint, sugar paste, graphite
22.05h x 38.19dia in • 56h x 97dia cm
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Figure Babel 10
2017
821
1
graphite and gold leaf on paper
60h x 39w in • 152.40h x 99.06w cm
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Sketches and Conversation Among Ruins IV
2018
822
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graphite and gold leaf on paper
38.98h x 31.10w in • 99h x 79w cm
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Endless Summer
2020
825
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woven tapestry, silk, cotton, fiberfill, foam, wood, bamboo, wire, plaster of paris
63.39h x 41.34w x 25.20d in • 161h x 105w x 64d cm
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Boom (I)
2018
823
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oil on aluminum, woven tapestry, silk, cotton
dimensions variable
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Selected Exhibitions

Videos

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