Kaloy Sanchez’s second solo show, Black Water Cross, deals with death and what lies ahead. Using somber, monochromatic tones, Sanchez does not deny the viciousness surrounding death. It may be a result of violence, as he illustrates mass-murdered corpses mercilessly gunned down and thrown at sea. Still, no matter the circumstances, he sees it as a journey. “I like the idea that there is life after death. Once you die, you sail by sea to another place and begin a new life. This is the idea of the manunggul jar, that, in the afterlife, the dead boards a boat guided by a steersman to traverse the rivers and the seas. The Manunggul Jar is a vessel that provides a cultural link between our past and our present. I believe that there is life after life, and I will feel less afraid.” Another work, “Hamlet’s Wing,” features a hellhound guarding her master as they move onto the abyss, the crack in the body of water representing the point where life meets death.
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