There are three seasons in the Philippines. Hot and sunny, hot and raining, or hot, sunny and raining, like a while ago, when the sky was so clear and then something came from the clouds and left the pavement wet. The smell of alimuom was on the air. My two kids were watching Dumbo. Somewhere out of sight, someone was playing a saxophone cover of Neil Diamond's Sweet Caroline. The wind blew harder for a while, then subsided as the sky lightened. I know you don't care but I do have some sort of fascination with weather forecasting. Anyway, here's some music.
To be honest, the first thing I noticed in these portraits wasn’t the texture, the lighting, or the color palette. It was her. Who is she? Is she real, or is she imaginary? Does she have an Instagram? I was hooked right away. I mean, I’m a guy. So yeah, I felt something at once. If you caught yourself staring a little longer too, don’t worry. You’re not alone. In most of these Roberto Martin Sing pieces, she looks straight at you. Her gaze isn't aggressive, but it isn't shy either. It's more like she's saying, “Hi. I know you’re looking. It’s fine.” In one painting, the young woman is rising from the water with full nymph energy. Men have been falling for this stuff since ancient Greece. She’s the goddess in the forest or the woman in the lake. There’s soft light, glowing skin, and zero real-world problems. She looks very feminine without being flashy. Inviting without trying too hard. And you can’t help but wonder what she’s thinking. The work moves between contempora...
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