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How Ryan Villamael relearned how to paint
Written by Oliver Emocling
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endIndex: After a decade of producing intricate latticework and delicate paper sculptures, Ryan Villamael finds use for his collection of off-cuts through painting. Photo courtesy of SILVERLENS GALLERIES
Stepping into a space inhabited by Ryan Villamael’s works is a convenient way of teleporting to paradise. In “Locus Amoenus,” which was exhibited at Singapore Biennale in 2016 and at Biwako Biennale in 2018, monstera leaves cut from maps hung from ceilings and crept up on walls, depicting a beautiful scene from an untended garden. Locus amoenus means “pleasant place” in Latin, but the installation of Villamael’s clusters of paper leaves in unnatural spaces perhaps also reflect on invasiveness and the Anthropocene. When “A Paradise Lost” was showcased at Silverlens in 2019, the exhibition space offered a vantage point to a vast mountain range a 20-meter scroll painstak