Navas blends linear forms essence; Each line creates its own shapes. The shapes are juxtaposed against each other, the fusion and definition of colors offer a dynamic rhythm, engendering a visual journey of advancement and retrieval.
Her distinctive use of lines creates an intense physicality to her works. The lines are changing shapes from thick to thin, crisscrossing and intersecting to give a sense of encounter and discovery.
This work is both an appropriation and a compliment to a fellow young artist. She memorializes the works of artists not just by merely copying them but also by making them her own.
Navas has also previously appropriated other artists’ images for her paintings including her mentor Chabet, and foreign artists Roni Horn’s River Thames and Michael Wolf’s Bastard Chairs.
She paints with abandon and transforms the flat images into sentient moving forms, quite the same way as Kiyoumarsi sets his everyday objects into paradoxical collisions. The agitated lines contribute to the rough textured energy of the canvas, which is relieved by the general neutrality of the colors.
Paint is alive in Navas’ works; it gains its own momentum as soon as she lays it on her canvas. Her pulsating brush strokes have a frenetic energy all to their own. While uninhibited and unrestrained, her expressive and bold handling of paint also imparts a kind of familiarity and tenderness for her subjects.
Navas deepens her imagery by working the surfaces with passion, allowing the perceived texture greater sway to create a visual language of ever greater richness. “Love Letters, After Sam Kiyoumarsi” offers a daring approach to color and texture with the canvas reeling with an effulgence of swirling pigment. Like many other artists, she also paints from photographs but what sets her apart is that she does not confine herself to the strictures of photoRealism.
Navas studied Painting at the University of the Philippines College of the Fine Arts (UPCFA) in the late 1980s under Chabet, and since then has been his close follower and friend. Chabet curated several of her exhibitions, including her first major solo exhibition called About Face at the Ayala Museum in 1997.