The Filipino genius for adaptation comes to the fore with Anthony Palo's fascination for the culture of cuteness that emerged from the country where one expected it least: Japan. Who would think that this realm of Zen and contemplative rock gardens would engender, or "engineer." the anime and the manga and the culture known as kawaii?
With immense relish and giddy delight, Anthony Palo subsumes the culture of cuteness, proposing a universal vision of childlike innocence, infinite fun, and fulsome jollity, as his canvases bustle with squealing children riding a flying dog, Humpy Dumpty listening to a storybook, the child Columbus discovering the New World, Chiron the Greek centaur baby-sitting for bored, listless children, moppets pretending toi be king and queen, privileged kiddies playing in a garden. Palo has created by turns, a parody of a lost -- or future? - civilization and a whimsical notion of a world of immobile time and arrested growth.
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