Andres Barrioquinto (b.1975) as an artist, is not limited to a classification of a single style with regards to his paintings. He experiments and shifts his approach through the different timelines that he has been in, eventually growing and entering maturation as his artworks do. His early days started with a strain of masticated carcass works and heavy, expressionist etchings of graphite. His disturbing rendition of images subsequently evolved to the less physical manifestations of terror and more on the sublime content of it. In his most recent works, he explores a canvas full of japanese-inspired elements, infusing Hiroshige's patterns with an atmosphere of work that he could call his own. This all began during his further explorations on cubism right after his blue period. Barrioquinto was then fascinated by the repetitive arrangement of triangular shapes in his works. He pursued this deeper and started to fill his canvas with more elements, resulting into a vivid hodgepodge of images invading his portraits and almost shrouding them in a camouflage-like manner, like animals hiding in the lush greens of an unknown, distant forest. Throughout of it, the portraits are retained, as they had always been the springboard of his artistic inquiries.
Bathing Birds is a diptych that depicts a subtle erotic romance of the artist's present style and technique. The images are both drowned in an overwhelming deluge of figures, resulting in a chromatic landscape of flowers and birds, crosshatched into the two portraits staring at each other. Bathing Birds is an allegory to the two nude japanese characters suspended in a state of courting each other like lovebirds. There is a certain sense of ambiguity in this painting that creates a mysterious line between the two paintings. There is no clear distinction if the relationship refers to the birds, the faces, the naked japanese figures, or the trees. This certain trait gives more intrigue to the painting, giving it a feeling of the beautiful unknown.
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