Buried Fragments explores the works of two artists who have a close obsession towards detail and technique. Their conceptual interpretations are very different but it is in their respective artistic processes that their works meet together and merge into a concrete whole. Either way, Buried Fragments goes around the assemblage of drawn details buried layer upon layer of different visual elements, then giving birth to a stack tower of ideas crucified towards the heart of circumstantial obscurity. Wesley Valenzuela’s works are based on the visions formed by fragments of information scattered around us. These things have contaminated the crux of our existences, both in the physical and digital realities. In this barrage of pure, unfiltered information, we are sometimes faced with questions of uncertainty, and ‘truth’ as a word, becomes a shaded blur. The artist communicates the responsibility of logic and unimpulsive analysis in such situations. We need to dissect the figures wisely and never fail to probe the origin of these ideas. This method of information dissection reflects strongly in Valenzuela’s work, showing the images as they are deconstructed and concepts come scattered around like colorful viscera crawling around the dark, empty background of the painting. Like a paused split-second caught in a blooming flower, the artist’s work communicates the vivid beauty that is contained in this imagery of sorts. It’s almost as if a sea of information is laid out in front of its audience, showing that the easiest approach to an idea is to deconstruct it and isolate its own units from one another. Epjey Pacheco’s obsession with detail resurfaces once again, as his furious habit of drawing continues its takeoff from his recent series. Pacheco’s clinical fixation with this type of discipline can traced back to the early days of his body of work, where you can see the agitation of drawing over image, over image, over image. This exercise is almost like an itch that the artist would keep on scratching until the flesh is scraped off from the bones itself. According to the artist his process is almost automatist, in where he just keeps on the task of drawing until a visible image appears. Not that this visible image is his end point, he just keeps on going until figures sprawl over the paper like living vines of plants. His works basically have lives of their own, and are birthed through this organic process of drawing pictures. He would just keep on working on an image until an instinctive nudge would make him stop, as if toiling over his creations is almost a pure utilization of muscle memory.