Pam Yan Santos Sold at Auction Prices

b. 1974 -

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    • Pam Yan Santos (b. 1974)
      Jul. 27, 2024

      Pam Yan Santos (b. 1974)

      Est: ₱10,000 - ₱13,000

      Pack Away Shoes handsigned and dated 2016 (lower right) print 26/75 12" x 10 1/2" (30 cm x 27 cm)

      Leon Gallery
    • Pam Yan Santos (b. 1974) - Untitled
      Sep. 09, 2023

      Pam Yan Santos (b. 1974) - Untitled

      Est: ₱120,000 - ₱156,000

      Pam Yan Santos (b. 1974) Untitled mixed media H: 60” x L: 21” x W:28” (152 cm x 53 cm x 71 cm) How much of the self is one allowed to put in one’s art? The universality of themes has always been a goal in which artist’s strive to achieve. It is the act of creating something universally resonant while maintaining one’s own unique artistic vision. The works of artist Pam Yan Santos can be seen as a balancing act between these two perceived extremes. Her practice presents itself as deeply personal without being trite, and appearing universal without having to shed any sort of personality or flair. Though Santos has experimented with a number of subjects throughout her career, it is undoubtedly the deeply personal that speaks to us in broader terms. 2009 was arguably a pivotal year for Santos and her practice. Thematically speaking, Santos produced a number of works that centered around her own life, specifically the life she shares with her husband, Jose John Santos III, and their son. This can be seen in pieces such as her mixed media piece Making a living room: Color inside the line, which presents a map-like collage that implies a theme of exploration or even discovery. This would prove to be a recurring concept throughout Santos’ artistic career. But another work from the same year (one that might prove to be more connected to the work on offer) is her installation titled Please Handle With Care Version 2. The found-object work, which currently resides at the Pinto Museum, features a recreation of a living room. Its multiple parts are seemingly either wrapped with or made out of paper that is reminiscent of packing or even caution tape. But a closer inspection reveals that these are in fact her son’s activity sheets from their sessions that seek to teach him the correlation between different actions and different objects. According to Pinto Museum’s notes on the work: “By wrapping furniture, plants and even cupboard items, the artist lends us the perceptual tools to see the world according to her son’s reality, even as she tries to render his private understanding of space to our commonplace regard for it.” Here, Santos effectively creates works that posit an ethics of care that understands the act as nuanced as it is natural. To care for everything in the same way, despite it sounding ideal, is arguably to act careless. Though we may have standards, we must also understand that uniformity may do more harm than good when done without context. Santos expresses through the piece one of the greatest desires a parent could want for their children; the ability to care. To be ensured that the bluntness and harshness of the world does not chip away at their capacity for kindness and understanding. But the work arguably invites another reading. Throughout the installation, we see polite yet directed instructions. Though to care is to guide, perhaps it is not its only directive. Operating only through a strict prescriptive ethics of care may also risk being careless. To reminisce the nostalgia for childlike wonder is just as painful for the child that outgrew it as it is to the parent that no longer needs to care for the child. This then brings us to the work at hand. But to fully understand the work, it might be best to take a look at the context of the exhibit it belonged to. Santos’ solo exhibit Make Sense ran from November 27 to December 16 2009. The collection of works, although very much inline with the style and practice of Santos, were in contrast with Please Handle With Care Version 2. The paintings featured phrases and quotes from her son placed on top of Santos’ collage-like paintings. The stark difference being that the phrases themselves are somehow rendered in an inquisitive and curious light. As if though the artist herself has been infected by her own son’s unique take on the world. Aside from the paintings and other mixed media works, by the gallery’s foyer was an installation composed of seven different chairs. An installation similar to the aforementioned work. But instead of a living room wrapped in tape and paper, we see the seven chairs, each with a designated papier mache balloon, arranged into a circle facing outwards. Santos then invited guests to play a round of musical chairs, with the winner bagging one of the balloons. The style, treatment, and even function of the chairs can be seen as emancipatory or unconstrained. No rules dictate or order the care given to these chairs. Instead it is in the very act of using them, playing with them, connecting with them that we are able to care for them. For Santos, the chairs represent individuality and uniqueness. Specifically in terms of acceptance of one’s own being. This duality between Please Handle With Care Version 2 and More Sense can be seen as both a journey and process through self-realization. For Santos it is the coming to term with the distinct character of her son. But, when viewed in the broader sense, it is a reminder that parenthood or guardianship is not and will never be a one way street. Our own sense of self and being implies that children have just as much to teach their parents as their parents have to teach their children. (Jed Daya)

      Leon Gallery
    • A Lot of Two Prints
      Apr. 22, 2023

      A Lot of Two Prints

      Est: ₱20,000 - ₱26,000

      A Lot of Two Prints i. Pam Yan Santos (b. 1974) Pack Away Shoes signed and dated 2016 (lower right) print, 26/75 12 1/2” x 11” (31 cm x 28 cm) ii. Charlie Co (b. 1960) Dancing at The Park signed and dated 2012 (lower left) print 26/75 12 1/2” x 11” (31 cm x 28 cm)

      Leon Gallery
    • Pam Yan Santos (b. 1974)
      Jan. 28, 2022

      Pam Yan Santos (b. 1974)

      Est: ₱15,000 - ₱19,500

      Pam Yan Santos (b. 1974) a) How Old Are You b) Happy Face Collector Version II P 15,000 Each piece is accompanied by a certificate issued by St. Luke’s Medical Center Foundation, Inc. and signed by the artist confirming the authenticity of this lot a) hand signed (lower right) b) hand signed (lower right) a) Hahnemuhle photo rag bright white 310 gsm print, 45/45 b) Hahnemuhle photo rag bright white 310 gsm print, 45/45 a) image size: 13” x 19 1/2” (33 cm x 50 cm) print size: 16 1/2” x 22 1/2” (41 cm x 56 cm) b) image size: 13” x 17.3” (33 cm x 44 cm) print size: 16 1/2” x 21 1/2” (41 cm x 55 cm) Each piece is accompanied by a certificate issued by St. Luke’s Medical Center Foundation, Inc. and signed by the artist confirming the authenticity of this lot

      Leon Gallery
    • Pam Yan Santos (b. 1974) Count How Many Happy Faces and Write the Answer on the Blank
      Jan. 23, 2021

      Pam Yan Santos (b. 1974) Count How Many Happy Faces and Write the Answer on the Blank

      Est: ₱8,000 - ₱10,400

      Pam Yan Santos (b. 1974) Count How Many Happy Faces and Write the Answer on the Blank signed (lower right) 15” x 19” (38 cm x 48 cm)

      Leon Gallery
    • Pam Yan Santos (b. 1974) How Old Are You?
      Jan. 23, 2021

      Pam Yan Santos (b. 1974) How Old Are You?

      Est: ₱8,000 - ₱10,400

      Pam Yan Santos (b. 1974) How Old Are You? signed (lower right) 15” x 21 1/2” (38 cm x 53 cm)

      Leon Gallery
    • Pam Yan Santos (b. 1974) - Untitled
      Nov. 28, 2020

      Pam Yan Santos (b. 1974) - Untitled

      Est: ₱800,000 - ₱1,040,000

      Pam Yan Santos (b. 1974) - Untitled signed and dated 2005 (lower right) oil on canvas Estimate USD : $16000-$20800 Estimate Euros : €13333.33-€17333.33

      Leon Gallery
    • Pam Yan Santos (b. 1974) - Mushroom Building
      Sep. 19, 2020

      Pam Yan Santos (b. 1974) - Mushroom Building

      Est: ₱800,000 - ₱1,040,000

      Pam Yan Santos (b. 1974) Mushroom Building signed and dated 2010 (lower right) acr y l i c , collage, graphite and serigraph on canvas PROPERTY FROM A DISTINGUISHED COLLECTOR The worlds that inhabit the works of acclaimed visual artist Pam Yan Santos are rife with care and full of meaning. As an artist, Yan-Santos raison d’être is the creation of new and novel spaces that unearths the underlying truths and realities of society and the world at large. Though her work utilizes collage and figurat ive techniques, the underlying moral dimension of the piece lends t he work strikingly affective characteristic. In this piece entitled Mushroom Building, Yan-Santos addresses the phenomenon of rapid urbanization by comparing the growth of the number of buildings and various infrastructure to the reproductive process of common fungi. Though Yan-Santos does not posit a sort of primitivist stance r egarding the matter, instead she sheds light on how pr ogress, when unfettered and directionless cannot be called progress at all. It is almost uncommon for contemporary artists of her generation to consider printmak ing as a medium. And yet, Pam Santos deliberately selected this medium i n the early stages of her art practice. Estimate in USD $16000-$20800

      Leon Gallery
    • Jose John Santos III and, Pam Yan Santos, , If I Behave, Can I Get Your Pogs?, signed and dated 2013 (lower right, and lower left), mixed media on canvas
      Feb. 22, 2020

      Jose John Santos III and, Pam Yan Santos, , If I Behave, Can I Get Your Pogs?, signed and dated 2013 (lower right, and lower left), mixed media on canvas

      Est: ₱800,000 - ₱1,040,000

      Jose John Santos III and Pam Yan Santos , If I Behave, Can I Get Your Pogs? , signed and dated 2013 (lower right and lower left) , mixed media on canvas 48” x 24” (122 cm x 61 cm), Accompanied by a certificate issued by the artists confirming the authenticity of this lot

      Leon Gallery
    • Daylight Saving Time Series 3
      Jun. 10, 2017

      Daylight Saving Time Series 3

      Est: ₱60,000 - ₱78,000

      Daylight Saving Time Series 3

      Leon Gallery
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