Kaloy Sanchez, in his third one-man exhibit, titled To the Memory of Sin, revives old concepts and ideas that he did not have time to work on fully until recently. “Old dreams have a way of restricting ourselves, compelling us to conform because we have or had a [previous] idea, dream, or plan,” says Sanchez, adding that the passing of time is a vital factor in the way those dreams are either revised or abandoned.
“I consider this show as an act of purging, of cleansing old dreams to give way to the new, of breaking away from the restrictions of the past,” adds Sanchez. In “Hesusa,” a 4 x 5 ft painting in acrylic and graphite on canvas, the woman appears to be lamenting the water inside the fishbowl, which represents restrictions that she might have faced in the past. The old interiors surrounding her demonstrate the inevitability of change over time.
In a way, he goes beyond exploring the technicalities of external factors such as the choice in materials and painting styles, and probes deeper into his identity, thought processes, and personal experiences. He cites a poem by D.H. Lawrence, titled “Dreams Old and Nascent,” which similarly expresses a desire to be freed from the past. Sanchez is determined to do just that, to start anew, work on fresh goals, and form new memories.