Provenance: Provenance:
Galleria Duemila, Inc.

ABOUT THE WORK

In his essay, the Draped Figure, Cecil Gould described the draped figure “as a kind of dialogue between the body and the material, or as a man and a woman dancing together”. National Artist for Visual Arts Benedicto “BenCab” Cabrera’s depiction of women are stylized versions of the proverbial town madwoman, often enriched by being covered in bold, voluminous garbs. In this particular art piece, the twins are vehemently portrayed by BenCab, with their bodies covered in voluminous garments and their faces hidden from the audience. Although he sharpened his fascination in drapery to the debarment of the figure, the fluctuation of the two bodies remains the primary vessel for its essential appreciation. As Cid Reyes wrote in the book BenCab, “there is no more convincing proof of BenCab’s classicizing temper and abstracting eye than his enduring predilection for the drama of drapery”.BenCab’s inducement for drapery is movement, the same force that propelled classic Greek sculptors. Throughout the history of Western art, drapery has provided rhythm and figure to the human body – one that becomes an instrument of energy. Without it, the human figure has been characterized as a “dancer without a musical accompaniment”. The two women portrayed in this art piece exude unbridled liberty from whatever restrains them. BenCab also exemplifies in this artwork his inclination towards the usage of few colors, with deep reds as the backdrop of his canvas. His works maintain the idea that art gives off a more substantial significance and impact through the application of fewer colors. Quoting from BenCab, “the drapery – itself an inanimate material – leaps into life and in the air limns an image of human joy, sorrow, lamentation, celebration”. Owing to BenCab’s dynamic artistry, the transient essence of motion and dance is given an enduring form.