In Annie Cabigting’s oeuvre, a conscious decision to appropriate the works of modernist and post-modernist artists charges her works with irony, skepticism, and wonder. The artist asserts the fallacy of creative invention and inspiration, proving that all artists virtually draw from each other’s materials in an endless process of adoption and experimentation.

By making the sources of her materials explicit, Cabigting is pushing the envelope even further, implicating her own identity as Woman, Asian and Artist in the works she appropriates-her signature besides Jasper Johns is telling. She re-contextualizes the perceived meaning assigned to a work, adding a layer of her own visceral tendencies, making them, in a sense, her own.

More than anything else, what is evident is her passion for the conceptual and the relational, even if the groundwork of such passion is figuration. She meticulously builds her work stroke by stroke, gives us a splitting image of the artwork in question.

And, as if by magic, the form “disappears,” and what we perceive is a network of inter-connections, pulsating with every conceptual possibility.