Ley Hunting : curated by Gary Ross Pastrana

The meaning that can be drawn between two points can only be fulfilled by a line drawn, straight as a map maker's will to lay out the most expeditious path, but is otherwise  nothing but a link imagined among a pair of dots. Much of the same can be said about story lines, conspiracies, and other myths that owe their theories to the progression of lines across a surface: constellations, rock formations, ley lines, pyramid coordinates and so-called sectors of alien activity and even forensic science, which without the lines formed between each incident should be left wanting  of a formidable truth to stand by. In here  the image created becomes the primer for thought, as scientists, archeologists, geomancers play the role of the artist, where seeing comes before thinking, and the split between perception and sensation is further diminished.

Inside the gallery it can be said that the roles are reversed, at least for the curator and his audience, where the theme is first laid out, the concepts enumerated, and is henceforth followed by looking at the objects which stood by a premeditated idea.

In this show, however, which is Silverlens' flagship of 15 artists represented, the method of curatorship openly assumes the reality of the archeologist's stance of primarily digging up the objects before ascribing their relations. It takes on the model found in ley hunting, of seeking out ley lines—the alleged alignments of historical sites and monuments into straight lines, believed to be ancient trackways, which  later on, became associated with  spiritual and mystical functions.

Ley lines represent the patterns found in our landscape. As to how, for example, the statues of Easter Island form straight lines that lead directly to the Indus Valley, the Angkor Wat, and the Pyramid of Gizza. These lines, according to their modern progenitors, carry out loads of cosmic energy. And for this reason they are hunted; as any landmark from anywhere could be interconnected and be part of a great, meaningful plot that can illuminate, or on the contradictory—a hoax good enough to get preoccupied with.

Within the gallery walls the idea of ley hunting is portrayed between space and object. Each artwork becomes a landmark, which can be as remote from each other as monuments from different continents: each painting from photograph, each collage from sculpture. But like two points a line can be drawn across them to find meaning in their coexistence, depending on what we believe, for how the land is laid out, is ours to behold. (Cocoy Lumbao, 2012.)