The bay windows from Kidlat De Guia’s breakfast nook offer him a distant yet clear view of an abandoned and unfinished 40-storey high-rise. He has always been struck by the prevalence of these monoliths in the metropolis, just sitting there in space and collecting dust. When asked to produce a series of photographs for a workshop he took under German photographer Peter Bialobrzeski dealing with the theme of urbanity, he saw it as an opportunity to document these sleeping white elephants that are monstrosities in both size and the waste they represent---of space, material, money, and potential.   

Shooting the images of these abandoned buildings with a digital camera, Kidlat manipulates each frame in order to darken the skies and enhance the texture of the buildings.  Using the computer as his darkroom, he creates an ominous backdrop that brings our attention more directly to the stark monstrosity each building has become, an experience akin to watching a B-movie horror flick, our eyes drawn to and held by the blood-soaked screen even as we are filled with revulsion at the events unfolding before us.  The abandoned behemoths seem to lie in wait, undaunted by years of neglect, portents of gloom in which they may play a direct role.   

This exhibit goes a step beyond Kidlat’s philosophy of documenting life “as it unfolds.”  From working mainly in black and white film, he explores the potential of digital photography while working within the confines of the single frame, getting all the elements he needs in a single shot while using digital manipulation as a means to enhance the concept of his work.  Turning the images into concrete light-boxes further underscores the gargantuan grayness of these sleeping giants, a concrete image encased in more concrete, a living sarcophagus for the prematurely dead.  

Video images of Manila’s shantytowns and the people living in them are projected onto the white walls surrounding the light-boxes, contextualizing the buildings and providing an ongoing conversation between them and the environment they inhabit.  The juxtaposition of video and still photographs combines two of Kidlat’s great loves, his lifelong passions of film and photography.   

Kidlat has been taking photographs and dabbling with film and video since he was a kid playing with his father’s equipment (independent filmmaker Kidlat Tahimik).  After finishing his degree in Broadcast Communications at the University of the Philippines Diliman, he has carved a niche for himself as a documentary filmmaker working mainly with NGOs and international development aid groups. He has worked with respected and multi-awarded shows such as The Probe Team and I-Witness Documentaries in various capacities.  Although his foray into the film world began inauspiciously as a freelance editor for local production houses, his talent as a filmmaker/director was first acknowledged when he won as the Philippine representative in the First Time Filmmaker Initiative of Discovery channel in 2001.  This was followed by an Award of Excellence at the Aqua Planet Video Festival in Seian, Japan in 2003.  His group shows include “KKK” with brothers Kawayan and Kabunyan De Guia, “Jumpcut,” “Celebration of Collage,” and solo exhibit  “Ah-leh, Life Goes On.” Sleeping White Elephants is his first solo show with Galleria Duemila.  (by Lissa Romero) 

Galleria Duemila is located at 210 Loring Street, Pasay City. For enquiries call Galleria Duemila at (+631) 831-9990 / (+632) 833-9815; email us at duemila@mydestiny.net