Ayka Go
Bio
Ayka Go’s (b. 1993, Philippines) works evoke personal memories from quotidian moments, including nostalgic reveries from childhood and existential musings. Often starting out from three-dimensional paper foldings, she explores the semiotic potential of paper through paintings on canvas. This peculiar process reveals a fluidity concerned with playful translations between two media.
In her works, the sensuous surface of a modest object, such as paper, is highlighted – its creases, folds, billows, and tears. Colourful paper wraps around large forms, creating idiosyncratic shapes or revealing underlying surfaces. At times, it takes a vastness of a landscape, and in others, the intimacy of diaristic entries. She has also introduced elements of chance into her process, utilizing Dadaist strategies as prompts for visual paper collages that are later translated into paintings.
Go expands her scope of inquiry from previous themes of girlhood nostalgia to bolder, mature examinations on feminist theory. Of late, she has been exploring on the female form. While very personal, it is resonant to the collective experience of self-reclamation. Go has also worked across medium of video and watercolour on paper, providing warm glimpses of private impressions culled from daily life.
Go has exhibited in Australia, Philippines, Singapore, Thailand, Taiwan, Hong Kong, China, Italy, and France. She holds a BFA in Studio Arts from the University of the Philippines Diliman, and is currently based in Manila, Philippines.
Ayka Go’s (b. 1993, Philippines) works evoke personal memories from quotidian moments, including nostalgic reveries from childhood and existential musings. Often starting out from three-dimensional paper foldings, she explores the semiotic potential of paper through paintings on canvas. This peculiar process reveals a fluidity concerned with playful translations between two media.
In her works, the sensuous surface of a modest object, such as paper, is highlighted – its creases, folds, billows, and tears. Colourful paper wraps around large forms, creating idiosyncratic shapes or revealing underlying surfaces. At times, it takes a vastness of a landscape, and in others, the intimacy of diaristic entries. She has also introduced elements of chance into her process, utilizing Dadaist strategies as prompts for visual paper collages that are later translated into paintings.
Go expands her scope of inquiry from previous themes of girlhood nostalgia to bolder, mature examinations on feminist theory. Of late, she has been exploring on the female form. While very personal, it is resonant to the collective experience of self-reclamation. Go has also worked across medium of video and watercolour on paper, providing warm glimpses of private impressions culled from daily life.
Go has exhibited in Australia, Philippines, Singapore, Thailand, Taiwan, Hong Kong, China, Italy, and France. She holds a BFA in Studio Arts from the University of the Philippines Diliman, and is currently based in Manila, Philippines.
