Some of Jojo Soria de Veyra's works as they might appear in a room or on a wall (in their correct room:painting size ratios).
The rooms and walls here were provided by Canvy.com. Click on each image to see a larger version.
My Felix's Leap Into That Grumbacher and Lefranc & Bourgeois Ultramarine-Blue Acrylic Void, 2019, acrylic on canvas, 31¼" x 72", here displayed beside a light fern-green sofa.
My The Bitch (or, Allegory of A Slur + A Black Man), 2012-2018, acrylic on shaped canvas, laterally 48" x 31 ½", here hung on a board on a dark fern-green (or olive green) wall in a room with mostly human skin colors.
My The Day I Wished Alexander McQueen Tackled Philippine Reality, Too triptych, 2018, acrylic on canvas, each panel 20" x 30", here displayed behind an Amazon-green sofa with a flame-red throw pillow on it, with patriotic white and blue curtains over a tall glass door to the triptych's left. Could this be in another cause-oriented fashion designer's lounge?
My "I Look Better Than Him in White", 2019, acrylic on canvas, 96" x 48", here hung in a room with mostly human-skin colors, except for a Mediterranean-blue throw pillow placed there to echo the night blue in the painting.
My Story of Iesus Nazarenus Resorts, Inc., 1990, oil on canvas, 31 ½" x 46 ¼", here hung in a Christian family's black-and-white-colored room.
My Bacchus and Ariadne (After Titian), 2019, acrylic on canvas, 96" x 48", here hung behind a not-so-blue long sofa, with a couple of celadon-green throw pillows placed on it to echo a similar green on the painting's right side.
My I Saw Fighting Temeraires (refusing to be tugged to their last berth to be broken up), 2019, acrylic on canvas, 45" x 30", here hung on a Béton brut wall above a wood cabinet topped by a plant in a pot.
My A Baroque Ode to the Lipstick Feminists' Attack On a Village, 2019, acrylic on canvas, 72" x 31 ¼", here displayed behind a long couch with a blue-and-green color scheme. The scheme echoes the blues and greens of the painting's "attack" (left) panel.
My O My God! (or, Somebody Squealed On Przybyszewski and Madonna), 2019, acrylic on canvas, 102" x 59", here displayed behind a couch with a blue-and-green color scheme echoing the blues and greens in the painting, also echoing just as importantly the blue comedy of the piece and the green message of the "little green men" in it.
My The New Middle Class and the Remaking of Our SoHo, Our Spray-Painted Little Section of the City, 2018, acrylic on canvas, 72" x 31 ¼", hangs in this room with its sofa image, yellow-building image, and red Polo Sport bag image echoed by the living room set in front of it. It would seem, therefore, that the painting's salute to more democratic forms or systems of gentrification (thus the supposedly disharmonious "democratic colors") is here being echoed by this gentrified living room in a seeming agreement.
A display iteration for my The Day I Wished Alexander McQueen Tackled Philippine Reality, Too triptych, the white barongs in which are here echoed by a white couch sporting two lechon-orange throw pillows. Two rattan pieces repeat the sunniness of the triptych's central panel dedicated to offshore accounts. Is it possible for a senator to have such a living room with such a statement?
My A Paedophile's Mini-Symphony in White, 2019, acrylic on canvas, 18" x 14", above a reading divan couch inside what might be a knitting room. Granted that the painting is a comment on Whistler's Symphony in White, No. 3's supposed non-political concerns and how that comment-cum-protest led me to conjure a paedophile's enclave. But the piece's more social realist directions could be ignored, with the work proper consumed simply as an homage to the brown skins of Filipino girls who'd already look good in their white dresses without the aid of whitening soaps.
My The Day I Wished Alexander McQueen Tackled Philippine Reality, Too triptych could also fit into this knitting corner inside somebody's large closet. It could allow that triptych's title and imagery to reverberate further within the wokeness that's currently trendy among some people with large closets.
The same triptych could likewise fit into this wall space above this cabinet where one might be keeping one's land titles and bank documents. As a daily reminder from the Ms. Morality to the Mr. Wealth inside all of us, then!
Same here for this piece, my Mask of an Artivist Soul as a Middle-Class Aficionado of Social Realism, 2006-18, acrylic on canvas, 24" x 24", where it also becomes a daily inspirer to its social liberal / social democrat / socialist democrat owner.
Same type of reminding and inspiring is occurring in front of this shelf, aided likely by thoughts coming from my Allegory of Apathies, 2017, acrylic on canvas, 14 x 10 inches, there hanging on this wall's horizon.
Same dining room or kitchen shelf, similar reminding thoughts, different painting.
Now, if this is indeed a dining room shelf, then my I Placed A Jan Fabre Piece on Death at Our Show About Life, 1990, oil on canvas, 21" x 21", could actually start a lively conversation about things associated with life and things associated with death.
Unless you want to avoid such conversations over dinner, in which case you can hang this painting on the outside wall there in the patio, where it can scarcely get noticed, unless the patio is where you actually take your tea.
Different cabinet below this, my Mask of an Artivist Soul as a Middle-Class Aficionado of Social Realism, but it would offer the same painting function, as reminder or inspirer, . . . especially as this could be in your home office where you write down a lot of your thoughts on life.
As a matter of fact, it would be the same painting function wherever you take it to hang in, . . .
. . . the same way my The New Middle Class and the Remaking of Our SoHo, Our Spray-Painted Little Section of the City would inspire the same interior design reaction, whichever lounge you decide to bring it to.
So, remember. If in one of your private rooms where you spend your alone time, a painting would be a reminder and an inspirer or private-thoughts-instigator. If in rooms where things might be more public, a painting would simply or naturally be an instigator of conversations on a subject or subjects.
So, you see, you can't measure a painting by its size. It's the amount of private thoughts or conversations it can instigate that renders it large or small.
