Fish by Kiukok

Formal & Contextual Analysis by Michael Garbin 

Ang's truly alludes to his Chinese legacy, fish remained his most suffering
creature leitmotif. Dating from 1959, "Mudfish" shows his excellent aptitude in
conventional Chinese brush painting. In proof are a finely tuned course of action of
straight mood and an inclination for lopsided parity. The hover as visual accentuation
imprint to bring a central feeling of request and accentuation makes an early
passageway right now, compositional gadget that would stay even as the fish
transformed as years went into the extraordinarily hard animals served up on huge
numbers of Ang's canvases.

Ang Kiukok set aside some effort to shift through his experience abroad and
didn't paint for some time. At the point when he again took up his brush, he creates
robotlike figures expressive of the dehumanizing impact of realism in American culture
that he saw.
In 1967 he did triangular scenes, which mirrored his pushing tendency toward the
unique just as still existence with metal themes. His style turned out to be progressively
powerful and formed into a combination of expressionism and cubism

Since the greater part of Ang's works are mix of expressionism and cubism his
style intertwined into a one of a kind individual tasteful some may state it's monstrous.
His Fish artwork took the realness of his work gives an idea which without a doubt is the
most powerful figures in contemporary Philippine workmanship was. Where Ang Kiukok
Fish delineates the merciless clashes, for example, his other monstrous works of art, to
attempt an endeavor to communicate the wild social and political atmosphere of the
time from 1959 to 1987.