PAST EXHIBITIONS

2025

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.

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.

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.

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.

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.