PAST EXHIBITIONS
2025
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Bukas | January
Group Show
n the exhibition "Framed," I embrace the medium of oil painting, a discipline that harkens back to my foundational artistic roots. This transition, influenced by my current experience of pregnancy, represents a harmonious blend of life's creative forces with artistic expression. As an sculptor, this temporary shift to painting is not a deviation, but a reconnection with the primal elements of my artistic practice.
Forever Young | January
Martin Maturan
In Forever Young, Martin Maturan unveils a new collection of oil on canvas works that deeply explore how important it is to heal the inner child. In this latest exhibition of recent works, the artist delves into the delicate process of revisiting formative experiences, acknowledging hidden wounds, and embracing the innocence and joy that once defined our youth.
Skybound | January
Mac-J Turla
In his fifth solo exhibition, Skybound, Mac-J Turla invites us into a world where daydreaming reigns supreme—a realm of unfettered imagination and creative exploration. Through a series of evocative works, Turla celebrates the gentle, unstructured moments that allow the mind to wander and ideas to take flight, particularly within the context of the artistic process
Paniniwala | February
Manny Garibay
What do we believe, and why do we believe in it? Paniniwala explores the evolution of faith as a cultural force, and how it has been shaped, institutionalized, and even weaponized throughout history. In this exhibition, Emmanuel Garibay dissects belief not as an abstract ideal but as a lived reality influenced by socio-political factors. His works challenge the ways by which faith has been used to impose identity and mold public consciousness.
Illimité | March
Sal Ponce-Enrile
In her solo exhibition Illimité, Sal Ponce-Enrile delves into the boundless nature of painting, where abstraction and figuration can hold their own respective spaces, and where the interior world and the visible world find a point of convergence. The exhibition explores the limitless possibilities of the medium, revealing a deep engagement with form, color, and the expressive potential of the artist’s brush.
Echo Systems | April
Group Show
We live in a time defined by plurality and multiplicity, propelled by the flattening of temporal and spatial experience through the a-historical archive of the Internet and the hyper-curated simulation of social media. The once stable ground of a shared reality has fractured into splinters, each piece orbiting its own set of references. Daniel refers to this rupture as the severance “between the signifier and the signified”—a linguistic and semiotic dislocation where meaning no longer holds.
Guhit sa Tubig | March
Yas Sehob
Water remembers. It carves and erases, holding memory in its depths while washing it away with the next tide. Yasmin Sehob knows this intimately. In her first solo exhibition, Guhit sa Tubig, she dives headfirst into a paradox: recreating what was lost—childhood photographs devoured by the floodwaters of Ondoy—while embracing the impossibility of ever truly recovering them.
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Compass | April
Group Show
Amidst all the confusion, precarity, and pessimism that surround us, as artists we have a compelling need to make sense of it all. In our works and practice we try to manifest positivity while finding peace and stillness despite the chaos. The works in this exhibition are meditative and repetitive rituals in our processes; replete with devotions, wishes, and contemplations. We hope to unite, intersect and fuse these visual mantras and invocations for collective care, meaningful linkages, and parity for all.
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Sampalataya | May
Max Balatbat
In Sampalataya, Max Balatbat returns to the neighborhood that made him—a place in Caloocan where desperation was part of the daily rhythm, and yet, somehow, prayer still found its way through. This solo exhibition is an act of reckoning: with faith, with survival, with the complicated dignity of lives lived in the margins.
Kitasabitak | May
Doktor Karayom
In KITASABITAK, Doktor Karayom steps into the literal and figurative fissures of memory, faith, and form. In what may be his most pensive exhibition yet, he turns to the image of the santo: broken, dismembered, forgotten, but never discarded. A figure once revered on pedestals is reexamined not for its divinity, but for the cracks that have come to define it.
Aeternum Dolorem | April
Melvin Guirhem
AETERNUM DOLOREM, Melvin Guirhem’s 13th solo exhibition, invites you to comprehend pain—that mysterious ‘frenemy’ who indiscreetly lurks in the shadows—as authentic, constant, indestructible, and, in a sense, eternal.
A Latin phrase that means “eternal pain,” AETERNUM DOLOREM presents a collection of handcrafted textile art that instantly draws attention to Guirhem's semiotic perspective on family and kinship. Appropriately rendered in the horror vacui idiom are allegorical depictions of his own malignant familial narrative, conjuring images of chaos, anguish, and pain.
Mid-Career Crisis | June
Cedrick Dela Paz
In Mid-Career Crisis, Cedrick Dela Paz turns inward, scrutinizing not only the outcomes of painting but the act itself—its routines, pressures, and evolving meaning in an artist’s life. This exhibition locates itself within that difficult middle point in an artistic career, when early promise has matured into responsibility, yet the clarity of legacy or mastery remains unsettled. The title alone points to a transitional moment that many artists experience: a space where youthful uncertainty is no longer a valid excuse, and the expectations—internal and external—begin to mount.
AI: Artificial Inteligence | June
Demi Padua
In Artificial Identity (Ai), Demi Padua turns his gaze toward the shifting landscape of creativity in the age of artificial intelligence. With a few well-worded prompts, tasks once reserved for trained specialists—architects, designers, artists—can now be carried out by anyone. This democratization, while remarkable, brings with it a quiet unease: when the process of becoming is replaced by instant simulation, what happens to the integrity of the self?
Object's Nature, Nature's Object | June
Jep Dizon
In Object’s Nature, Nature’s Object, Jep Dizon turns to the still life as a formal exercise in balance and beauty, as well as a psychic chamber where the rawness of nature and the artifacts of human thought collide. A flower poised in a wine cup, a marble bust stilled in contemplation, a crow perched, a snail inching forward, a book closed like a breath held—these images, calmly arrayed, hum with symbolic charge. They are not still, but vibrating with the aftershocks of living.
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Dapo | July
Chad Montero
“Dapo” is derived from the common folk belief about the “dapo ng paru-paro.” In this filipino pamahiin, it is thought that when a butterfly alights around or upon you, they are“nagpaparamdam” or “bumibisita.” It is said that they are the spirits of the departed coming to visit the living, fluttering and passing in the in-between to act as messengers from a world beyond our reach. They embody our lost loved ones, dropping in to whisper a blessing or a gentle farewell, to give comfort or bring luck to the ones who are left behind. They flutter and pass.
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Drop Off Point | July
DEMET
The working class of courier-riders is the latest inspiration behind Demet Dela Cruz’s “Drop Off Point.” The artist believes that a courier-rider’s daily work is emblematic of the perseverance, improvisation, and hard work of the Pinoy. A lot of people can relate to this, especially Filipinos who are known for demonstrating an ability to make good use of what is available by maximizing whatever is at hand. The Pinoy usually accepts the reality of having limited resources and adapts accordingly.
Piezas | July
Ian Quirante
In PIEZAS, Ian Quirante dispenses with the pretension of unity. These works do not seek completion, as they revel in the unresolved, a resistance to reduction. Untitled and unnumbered, the works insist on the autonomy of the mark, the surface, and the gesture, elements long dismissed when tethered too closely to narrative or theme.
Reset | August
Kris Gavino
In Reset, Kris Gavino charts a liminal space where time loses its tyranny—where the past no longer haunts, and the future no longer threatens. What remains is the present: fragile, vivid, suspended like a breath held between sleep and waking. Gavino’s latest suite of paintings contemplates time not as a sequence but as a felt experience, subjective and shifting, folded in on itself by memory, imagination, and desire.
Behind the Everyday | August
Ross Gadiana
In Behind the Everyday, Ross Gadiana pursues a line of inquiry that transcends surface depiction. He isolates the mundane not to sentimentalize, but to elevate its being; to press into its form and structure until it yields the sublime. The works on view proceed not from invention but from recognition. Titles such as Uhaw, Kasalukuyang Yakap, Muni, Ulirat, Self-care, Loob, Sigaw, Hinahon, Malay and Hapag signal the artist’s interest in actions so ordinary they are often invisible. A person drinks water. A painter paints. Someone zones out while looking at his reflection while plucking thorns from his face. These are not performances, not rehearsed or posed. They are captured as they happen, undramatic yet emotionally precise, reflecting life as it is lived.
In the Meantime | August
Ma Justina Redillas
This solo exhibition by Ma. Justina Redillas inquires into the emotional signification of religious imagery. Taking off from the artist’s personal milieu, it is a continuation of her previous explorations with santo sculptures, recasting them this time as material registers of one’s inner world—not only of pain, grief, and confusion, but also of hope. The emergent body of work remains consistent with her expansive approach to material that is tactile and contemplative, at the same time.
Another Dish on the Table | August
Reynold Dela Cruz
In this exhibition, Reynold De la Cruz dives into an in-depth study of the life and mind of Leonardo Da Vinci. In essence, Da Vinci was a rebel. Though not in the loud, political sense, his rebellion was one that constantly pushed the boundaries of the customary and what was accepted or even allowed in his time. Fundamentally, this is similar to how Dela Cruz vandalizes existing historical aesthetics, because graffiti and vandalism themselves are simply powerful tools of rebellion that have continuously challenged authority across the ages. Dela Cruz subverts convention by incorporating cartoon images and pop culture symbols into an otherwise traditional, realistic painting.
This is not a Chair | September
Jowee Aguinaldo
In Jowee Aguinaldo’s first solo exhibition, the artist takes an ordinary piece of furniture, a chair, and turns it into a restless metaphor for the everyday struggles that shape our lives. This Is Not a Chair asks us to look closer at what we take for granted, to see how a familiar object can carry stories of power, absence, burden, and survival. Images of monobloc chairs, common in Filipino households, appear in varying iterations: stacked, carried, used as armor, boxed, and strewn with yellow police tape. Each depiction adds meaning, taking us deeper into this hardy object whose very material might outlast human lives.
Alingawngaw ng Katahimikan | September
Groupshow
When the air trembles with noise, silence bears the heaviest burden. It is not absence but the sedimentation of the unsaid and the gathering of what has been deferred. Echoes of Silence unfolds as a field of suppressed narratives in translation, where quiet becomes a fragile architecture for stories too brittle to survive the violence of speech.
Dystopian Lullabies | September
Paul Eric Roca
Tila ugoy ng duyan ang sunod-sunod na paglilinya ng mga dibuho ni Paul Eric Roca sa Dystopian Lullabies. Ngunit imbis na ihatid tayo sa pananaginip ay dinadala tayo nito sa huling hantungan. Ang kanyang mga ilustrasyon at pintang inilapat gamit ang payak na itim at puti, ay lulan ng mga dalamhati – lingid sa paningin ang bigat ng mga tunay nitong kulay. Habang ang mga linya’t hagod ay mistulang paalala ng paulit-ulit na pighati.
Pagkitil ang buod sa tanghalan ng mga biswal na ideya ni Roca, ngunit tulad ng maraming balintuna, kumikibot ang buhay ng budhi sa bawat piraso ng obra.
Panaghoy | September
Renato Habulan
In the encroaching darkness of our present time, structured by the stark inequities of the nation’s political economy, it may seem redundant to return to the heavy realities that have long shadowed our collective memory. Yet Renato Habulan’s practice, tempered in the crucible of the 1970s dictatorship, reveals how these brute conditions endure, most visceral in the vigilante killings of the drug war. In Panaghoy, Habulan gathers death not as closure but as passage, a site from which to knock upon the doors of conscience, making visible the grief and sorrow that throb within these unhealed wounds of history.
Tight Hold | October
iSko Andrade & RC Caringal
Tight Hold brings together, for the first time, the artistic visions of iSko Andrade and RC Caringal in a two-person exhibition that reflects on the many bonds that shape our lives: within families, relationships, and communities. The title, departing from the familiar phrase “hold tight,” suggests that the connection already exists, sure and unshakable, and what remains is to recognize and confront its presence.
Kapalaran | October
Jonathan Dangue
In Kapalaran, Jonathan Dangue turns his gaze toward the ancient cycle of the Chinese zodiac, reimagining its twelve animals not as static signs but as beings charged with spirit and movement. Each creature bears its familiar temperament: the pig breaks into a wide grin, the horse gathers its strength with forelegs raised and mane unfurled, the rooster caught in the instant of crowing, summoning the day. These presences are not merely sculptural forms but vessels of character, animated by their symbolic roles across centuries of belief and tradition.
The Anthropometric Man | October
Carlo Tanseco
In his latest exhibition, Anthropometric Man, Carlo Tanseco temporarily steps aside from his works featuring playful can packagings inscribed with his witty aphorisms. Here, he turns instead to something elemental: the body as measure, the figure as compass, the human form as the axis around which the world is constructed and understood.