Reset Kris Gavino August 2 - 30, 2025 Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image 1/12 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. Here, time is not kept by calendars or clocks, but by the human body—its weariness, its need for stillness, its quiet rituals of renewal. In “Rejuvenation,” a slumbering figure lies between worlds, cradled by a landscape that seems less inhabited than dreamed. The borders between body and ground blur, as if sleep itself were a threshold where the interior self dissolves into the elements. The atmosphere is one of silence, solitude, and that elusive sense of repose that arrives only when we surrender the need to measure or control. Gavino punctuates these soft, introspective settings with the image of a clock—an object made for personal timekeeping, capable of being rewound, reset. Set against imagined terrains, the watch becomes a poignant marker of human presence: minuscule in the face of geologic time, yet insistently ticking. How absurd, the works seem to ask, to frame the ancient earth with our fleeting concerns. And yet, how deeply human to try. In “Silence Between Thoughts,” a quiet self-portrait begins to fade into the landscape, as though the figure were not placed upon nature but made of it. There is no drama in the dissolution, only a steady, graceful yielding—a reminder that all things, including the self, are subject to erosion. The title evokes the ephemeral space between mental noise, where clarity sometimes blooms: not in assertion, but in the pause. Gavino writes, “Perspective is subjective. Having vision without sight may lead us to rely on the other senses, at times can be overwhelming. It is foolish to run the risk of going mad for sanity’s sake. Rest becomes more costly the more we need it... Ultimately, there will come an event where life will hit the reset button.” That “reset” may arrive suddenly or slowly, as a rupture or as grace. Either way, Reset invites us to meet it—not with resistance, but with awareness. To dwell, if only briefly, in a space outside of time. To listen for the silence. To rest. And perhaps, in doing so, to begin again. '- Carlomar Arcangel Daoana 1/1

Eve | July 6 - August 3, 2024 Eve Tony Mercado July 6 - August 3, 2024 1/6 View Catalogue Video Press Release Emerging From the Depths In Tony Mercado’s Eve, the artist explores life's beginnings and the nurturing forces that deliver us from the depths of existence. He depicts women in various states of emergence, their reflections shimmering and seemingly imparting obscure wisdom. Mercado’s canvases are awash with muted hues that evoke the fluidity of water, the quintessential element of life. Water has the qualities of both comfort and unpredictability, representing both the womb and the mirror. Life originates in water, and life is maintained and rejuvenated by it. Thus, the artist channels this energy of rebirth, making visible the protective embrace of the feminine spirit as encapsulated in each brushstroke that depicts the moment of resurfacing—a delicate balance between submersion and ascent. Women are painted with precision and gentility. Calm demeanors pervade though their faces are immersed in water, which shows how the mellifluous medium both bolsters and tests them. These figures are not just rising but awakening, embodying the resilience and nurturing strength inherent in all beginnings. Instead of drowning, they face their predicament with poise and grace. Their wavy reflections emphasize the ongoing dialogue between their past selves and the emerging present, creating a moving transformation narrative. Mercado invites us to witness the intimate moments of resurrection and self-discovery, cleverly providing witty twists to his imagery. One of his women faces away, breaking the collection’s pattern of confronting the viewer directly or else giving a wary side-eye. In another piece, he turns the landscape upside down, reinforcing the dreamlike settings he builds for his muses. These paintings transcend simple realism, enabling each observer to make personal reciprocities with the flowing lines and glistening reflections. Though the warmth and care portrayed in these pieces are evident, they also allow for individual interpretation, inspiring viewers to fully engage in the pieces as they reflect on their own contemplative journeys. As Mercado’s Eve offers a palpable manifestation of reassurance enfolding, the artist reminds us of the nurturing forces that guide us from the depths and lift us. As he lets his women rise through the surface, focused feminine energy guides us through the ebb and flow, the artist's adulation fueling the way his portrayals cast ripples that embed themselves in our consciousness. Kaye O’Yek

Nomad Azor Pazcoguin Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image 1/12 If Life Is A Journey In NOMAD, Azor Pazcoguin strips his art down to the essentials, exploring the complex simplicity and depths of monochromes. This latest solo show transforms concrete surfaces and layered textures into visual poetry, capturing the quiet power of structures and journeys alike. With each painting, Pazcoguin composes a tactile experience that’s as much about feeling as it is about seeing. The works in NOMAD might appear grounded at first glance (with one literally labeled in Japanese kanji as underground), yet they tell stories of movement and identity, place and bearing. With the subtle yet clear layering of text on his Apt. pieces—This Place contrasting with Displace, Undercover seeking Exit—Pazcoguin’s brush brings to life the facades of buildings, playing with their storeys and shadows, recalling the places one’s traveled to and the transient connections left behind. In his hands, concrete becomes a symbol—both a marker of stability and a reminder of the ever-shifting stages of life. With 1st, 2nd, and 3rd Person, however, his surface interventions serve as mutable markers for the evolving personas we wear, mirroring the identities we adopt as we navigate different places and circumstances. They remind us that who we were before probably is way different from who we are now, while V and B beckon us to embark on new road trips and exciting adventures to find out more things about ourselves and the world. As these monochromatic pieces invite viewers to experience the pervading changeability of people and places, Pazcoguin’s careful layering and scraping techniques evoke a sense of grounding, as if each work is imbued with the weight of memories and miles traveled. Despite their restrained palette, his pieces are rich with tactile depth, revealing new details with each glance and shadow, urging audiences to touch, linger, and reflect on their own journeys. NOMAD reminds us that we’re all travelers, cruising through a life of shifting landscapes and continuous reinvention. Pazcoguin’s art is a pause on this endless road, offering a moment to see where we’ve been and consider where we’re going next. It’s a timeless message for anyone seeking connection, simplicity, and the meaning behind the marks we leave behind. Kaye O’Yek Azor Pazcoguin 1/1

Kapalaran Jonathan Dangue October 4 - November 1, 2025 Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image 1/12 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. Dangue shapes his animals as assemblages of found objects, infused with attributes of fortune and prosperity. Among these are yuanbao—the boat-shaped ingots of wealth—and the pierced brass coins of Chinese lore, talismans once strung together to ward off misfortune. By embedding such emblems into his creatures, the artist situates them within a continuum of material and spiritual aspiration. In striking counterpoint to these animated forms are the artist’s own hands, cast in resin, amber-hued and luminous. Placed downward with fingertips touching the surface, they serve as both pedestal and anchor. They hold aloft the zodiac animals, yet also draw them back to the earth, reminding us that whatever celestial order the heavens might decree, the grounding of existence remains in human touch. Binding these figures is a coil of wire that spirals around hand and animal alike, as if tracing an unseen current of energy. It is at once tether and conduit, suggesting the luminous cord of destiny that threads through our lives. Dangue’s Kapalaran meditates on this tension: between forces believed to govern from above and the agency we carry within our grasp. The sculptures insist that while fate may be written in the stars, destiny is equally shaped by the weight and gesture of our own hands. '-Carlomar Arcangel Daoana Jonathan Dangue Jonathan Dangue (b. 1984) is a Filipino sculptor, painter, and architect renowned for transforming brass into textured, expressive art that reflects both philosophical and emotive themes. Licensed in architecture, he won the Grand Prize in the 2011 and 2012 Metrobank Art & Design Excellence (MADE) competitions—first for sculpture with “Walang Pinanghahawakang Anuman sa Palad” and then in the architecture category. Dangue’s works balance intuition and planning, often incorporating everyday material like brass into his visual vocabulary. His pieces have been featured in solo and group shows such as Kabuluhan ng Buhay and Monumental Abstracts, and he has also designed the Department of Health’s regional office in Davao and created a commemorative MADE sculpture “Binhi” 1/1

PAMANA | February 04 - February 25, 2023 PAMANA A fundraising exhibit for the Linangan Mentorship Program February 04 - February 25, 2023 1/7 View Catalogue Video Press Release Linangan Art Residency, is an alternative art school focused on developing and defining Philippine art and culture through art residencies and educational programs dedicated to Philippine Art studies. The program cultivates the vital link between art and culture by emphasizing on art production that is focused on community life. Its curriculum and space are designed to hone artist-leaders in creating contemporary art that is definitive of Philippine culture. To amplify Linangan’s mission of empowering artists and communities through art education, we organized the “Pamana” exhibit highlighting the foundational role of mentorship in fostering the development of Philippine contemporary art. The exhibits bring together Linangan residents, alumni, and stalwarts of the Philippine art scene, most of whom have mentored in Linangan to raise funds for the development of the Linangan mentorship program. The exhibit roster includes Jigger Cruz, Charlie Co, Orley Ypon, Manny Garibay, Mark Justiniani, Leslie De Chavez and Renato Habulan among others. Pamana Artists: Bjorn Calleja Charlie Co Daniel dela Cruz Dex Fernandez Jigger Cruz Leslie de Chavez Manny Garibay Mark Justiniani Orley Ypon Otto Neri Renato Habulan Abril Valdemoro Ben Albino Delmo Hannah Nantes Jason Delgado Jessa Balag Joen Sudlon JC Sicam Jonathan Madeja Lance Gomez Manuel Gomez Maricar Tolentino Noel Elicana Paul John Cabanalan Zuh Dai

The Things You Bury, The Things That Grow | October 7 - 28, 2023 The Things You Bury, The Things That Grow Arvi Fetalvero October 7 - 28, 2023 DSC02758.JPG 1/7 View Catalogue Video Press Release The Things You Bury, The Things You Grow Sometimes, you don’t always reap what you sow. This has been a recurring realization for the artist during the past years. Sometimes what grows out of the seeds is something one least expected —a great surprise or disappointing failure. Either way, despite the anxieties and the uncertainty of the outcome, all one can do is continue plowing, and hope for the best. The artist tries to cope with this realization and contemplate her current conditions while she does her gardening — all the seemingly unrewarded or unnoticed efforts she has made while biding her time and keeping patient for the small possibility of something more in the future. She takes the time for quiet introspection as she finds affinity with her plants’ natural instinct to survive. Arvi Fetalvero Arvi Fetalvero Arvi Fetalvero is a visual artist currently taking up her master’s degree in curatorial studies under the Art Studies program at the University of the Philippines - Diliman. As an artist and budding curator, her artistic inclinations run towards processed-based works and projects, as well as space-oriented installations, wherein she combines a range of mediums and techniques — from paintings in acrylic and oil, drawings in graphite, to sculptural objects using textile, beeswax, resin, and wood. They are reflections of her musings about space and the fluidity and rigidness of its boundaries — whether it be personal, physical, internal, or otherwise. She explores how one can activate a space to convey narratives, thoughts, and experiences. Since her works are also very personal, she adopts the imagery of lace to signify her personhood and sense of being, by using it as a replacement for her skin, muscles, nerves, veins, and organs. The meditative process of manipulating, shaping, and rendering of lace, fabric, and thread with other organic objects, as both material and subject, allows her to mentally and emotionally stimulate and initiate personal therapy and self-healing. Through the delicate strength, openness, and see-through quality of lace, she asserts her presence and attempts to claim her space.

The Six-Sided World December 2, 2023 - January 6, 2024 Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image 1/12 The Six-Sided World: Art Cube’s Year-End Show Art Cube takes great pride in unveiling its much-anticipated year-end show, The Six-Sided World. This exhibition serves as a testament to the gallery’s commitment to showcasing the multifaceted brilliance of both emerging and established artists. The chosen theme, a cube, symbolizes the depth and diversity of the 73 participating artists, whose creative voices collectively shape the ever-evolving landscape of Philippine visual art. The Six-Sided World is a celebration of Filipino creativity, imagination, and intellectual daring. It stands as a tribute to the artists who contribute significantly to the rich tapestry of Philippine visual arts. As in previous year-end shows, this exhibition exemplifies Art Cube’s dedication to presenting a kaleidoscope of themes, styles, and mediums, offering a cross-section view of the robust ideas that define the contemporary artistic narrative. The curated showcase is designed to provoke thoughts and emotions. By generating juxtapositions, associations, and narrative threads, the exhibition reveals the subtle yet intricate connections between the diverse artworks. Each piece is a unique thread in the larger tapestry, contributing to the overarching narrative of the Philippine art scene. Beyond being a mere exhibition, The Six-Sided World is Art Cube’s heartfelt expression of gratitude to the artists who have transformed the gallery into one of the foremost art spaces in the country. It serves as a thanksgiving to the artists, the patrons, and the public who have supported the solo and group exhibitions throughout the year, contributing to the gallery’s continued success. This showcase encapsulates the spirit of collaboration, innovation, and appreciation that defines the Art Cube experience—which the gallery hopes to foster in years and years to come. Carlomar Arcangel Daoana 1/1

Turn,turn,turn | February 12, 2022 - March 05, 2022 Turn,turn,turn Nina Garibay February 12, 2022 - March 05, 2022 1/5 View Catalogue Video Press Release To every thing there is a season Out with the old and in with the new: what looks good today may not look good tomorrow. The fashion industry is one of the biggest global businesses which consistently puts out new commodities. Accelerated by the popularity of online shopping, fast fashion brands, and the extravagant spectacles produced by fashion houses, we are like moths drawn to a flame. In Turn, Turn, Turn, Nina Garibay presents paintings created from her collage-based practice of composing and piecing together images from fashion photoshoots in order to ponder and critique our relationship with fashion. Informed by her background in advertising, she notes how insecurity is preyed upon by the industry in order to turn out a profit. Characterized by her sharply cut yet smoothly blended figures, she utilizes the various captivating details of garments and transposes them onto silhouettes of unrecognizable models. Tapping into our innate vanity which magazines utilize when presenting us aesthetically pleasing ware, her works become hauntingly self-questioning. With trends emerging and switching out just as quickly, is there a need to feel the fear of missing out? Mid-flip through a page of a magazine, The Turning shows the moment before the looming thrill of being unable to look away from the incessant influx of new content. Fads that became the Ghost of Christmas Past present themselves now as a creature mutating into a landfill. The diminished popularity of items results in their premature disposal and consequently, a fast accumulation of waste. A time to rend, and a time to sew The Molting series shows several variations made possible within a woman’s silhouette that refer to the shifting of fashion seasons that happen annually. Since we as consumers think about clothing as an extension of the self and an expression of our identities, we are constantly presented with more commodified versions of ourselves to consider purchasing. Light Trap asks us to think about what is next. Under the weight of overproduction of textiles and garments, the planet is being overwhelmed with the number of resources needed to ensure the allure of the fashion industry. Harvest drives this point home by juxtaposing a photograph of a model posed within lush greenery with another figure turning its head away from the scene, indifferent. In order to produce a large quantity of fiber ready to be turned into clothes, the global south yields its land to farm cotton, and corporations exploit its working class to supply cheap labor for sweatshops. With their speedy machinations, multiple pieces of clothing can be assembled quicker than the fastest growing plant. And a time to every purpose, under heaven Continuous expansion and accumulation are cyclical, akin to the process of Pollination. The visual engagement and tactility of clothing gives us an experiential buzz. Arranged cannabinoids on drapery, a figure perched on a honey jar, and an inverted yellow rose form a picture that reads like a fortune telling card that expresses a need to break from the hivemind created by the instant gratification of spending. A preference for the immediate eases us into choosing subpar options: meals of little nutrition, and easily frayed, articles of clothing. Time is captured and tailor-fitted into such an infinitesimal window. Perhaps it is possible to enter a momentary lull and reconsider our consumption in this fast-paced consumerist world. Rather than always keeping up with the times, we dress to fit no other mold but our own. - Sarah Conanan Nina Garibay (b. 1991) is a full-time visual artist based in the Philippines. She graduated Magna Cum Laude from the University of the Philippines, Diliman with a degree in Visual Communication from the College of Fine Arts. She has participated in several group shows within Manila. In 2020. she marked her first solo exhibit in the midst of the lockdown. She is currently the program manager at the Punlaan, a program of the Linangan Artist Residency, located within the Alitaptap Artist Community in Amadeo, Cavite. For her upcoming exhibit – Turn, turn, turn, aims to highlight the passage of the "seasons" in the fashion world- S/S (spring, summer) A/W (autumn, winter) collections and the futility of keeping up with such vanities.

Forever Young Martin Maturan January 11 - February 1, 2025 Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image 1/12 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. Through his intricate brushwork and emotive palette, Maturan paints narratives that are as deeply personal as they are universal. The canvases teem with imagery that bridges the gap between reality and memory—playgrounds frozen in time, nostalgic objects imbued with symbolic meaning, and figures that appear to echo and merge with their surroundings with the addition of motion lines. By showing us this dreamlike and delicate world, Maturan seemingly invites us to be where healing begins, coaxing us to confront vulnerability while rediscovering untainted wonder. The artist employs warm, vibrant tones of burnt umbers and rich browns to evoke a sense of comfort and safety, juxtaposed with subtle shadows that hint at the struggles of growing up. The recurring motifs of toys, carnival rides, and open skies act as symbols of freedom, play, and pauses in time, specifically meant for leisure, now certainly hard to find. However, beneath these idyllic surfaces lies an undercurrent of longing—an unspoken yearning to mend fractures and reconnect with the self. Maturan’s layers of paint overlap like memories, creating dynamic compositions that seem to oscillate between clarity and muddledness. Through his pieces, the artist skillfully uses this interplay to suggest the fragmented yet enduring nature of childhood recollections. Forever Young encapsulates the exhibition’s ethos: that within every individual resides a timeless essence untouched by the weight of years. By confronting the past and embracing the inner child, Maturan suggests, we unlock the potential for emotional and spiritual renewal. Through this deeply personal collection, the artist reminds us that nurturing the inner child is not just an act of healing, but a celebration of the enduring spirit that makes us whole, and we can hold onto it—forever. '-Kaye O’Yek 1/1

The Bitter Sea Is Boundless, but if You Turn Around There Is The Shore | May 6-27, 2023 The Bitter Sea Is Boundless, but if You Turn Around There Is The Shore Patrick De Veyra May 6-27, 2023 DSC02320.JPG DSC02325.JPG DSC02312.JPG DSC02320.JPG 1/5 View Catalogue Video Press Release Of Truncated Trips and Intentional U-turns In Patrick de Veyra's recent solo exhibition, The Bitter Sea Is Boundless, But If You Turn Around There Is The Shore, the artist showcases a stunning collection of vibrantly colored paintings, each piece featuring intricate layers and surfaces added or subtracted with well-thought out intent. With each painstakingly laid veneer, he builds on his pigments and glazes, a number of them in volatile neons, each shade having its own visual character and curing time. The artworks exude a playful yet sophisticated aesthetic that perfectly captures the artist's creative vision and his specific brand of conveying emotion without overreaching sentimentality or saccharine nostalgia. Though halted temporarily by the recent coronavirus pandemic, our lives as we know them have slowly come back to normal, with us more clearly seeing unfinished business for what they are— tasks to either resolve at last or finally let go according to our capacity and state of mind. Here enters the courage and maturity of the artist as he digs deep into his personal history, combining Eastern philosophy with Western sensibilities directly translated into his art-making process. Projects from decades earlier, punctuated by losses, are laid asunder in the context of yet greater mishaps on a global scale. De Veyra takes advantage of the world standing still to recalibrate his bearings, giving a fresh take on his past while giving himself a chance to redirect his narrative for the future. Glitter and Strife, first painted in 2005 and revisited this year, is a wonder of bright acrylics and sparkles. Enveloping his figure in drops, which may be either tears or a fresh wash of rain, plus a smattering of glitter on canvas, he employs collage and de-collage to create a sense of depth, with texts underscoring the duality of ecstasy and sorrow. Another One Bites the Dust was first painted in 2006. Though identified with a pop/rock song, it sports an alien-like creature with its own retinue of video game characters. These intriguing figures captivate viewers, drawing them into the complex layers of the painting as well as the gamut of emotions contained therein. There Is No New Wave, Only the Sea features a hypnotic mix of pinks, blues, greens, and oranges that convey the calming yet powerful nature of the sea. It also appears planet-like, like a piece of the ocean viewed from a cruise ship’s porthole. It harkens back to De Veyra’s stint as SSEAYP (Ship for Southeast Asian Youth Program) Youth Ambassador, when he traveled by sea to various Asian countries to participate in cross-cultural grassroots programs and discussions with government leaders. As he looks back with fondness on days spent on international waters, he also relates them to realizations brought about by the ebb and flow of life: all waves belong to one sea, just as all energies swirl within this universe that he exists in. It comes with an accompanying video installation created by Hamill Buyco, an animator who finished his BFA in Media Arts and Animation at The Illinois Institute of Art - Schaumburg. Perhaps all the Dragons in Our Lives Are Princesses Who Are Only Waiting to See Us Act, Just Once, with Beauty and Courage showcases a beautiful mix of oranges, blues, greens, and yellows. The title is inspired by a quote from Rainer Maria Rilke, which speaks to the transformative power of taking action with beauty and courage. Picturing a creature with its mouth agape while wearing either armor or dragon scales, it seems the artist catches it frozen in the process of metamorphosis, awed by the power of change. Who Knows if the Moon's a Balloon?, inspired by a line from a poem by E. E. Cummings, depicts a face filled with rounded moon craters with eyes on top of each other. Repetitive patterns of dots and spheres add to the lightness of the piece, representing the moon floating in the sky, buoyed by mysterious gravitational forces. From the Chinese saying celebrating the mutability of constant change, Flowing Water Never Gets Dirty (1-10), De Veyra showcases his versatility as an artist in a series of framed mixed media works on acid-free paper. Measuring 12.5 inches in diameter, each features a merry mix of pigments and shapes, seemingly interpreting faces that explode into forms that create fascinating juxtapositions. In the Thick of It boasts an iconographic object covered in a profusion of riotous paint drips, a symbol of innocence immersed in exuberant goo. It is youth made tangible and frozen in glee, reveling in the adventures it’s gotten itself into and looking for more exciting exploits ahead. Overall, De Veyra's works fully embody not only the Chinese proverb expressed in the title but also remind us of the whole spectrum of emotions that match the full scope of life’s colors: all of its lights and darks, jubilation and mourning, and even the combination of races in the artist’s very blood. As a Filipino mestizo with strong Chinese and Spanish roots, he himself is a product of journeys and detours by land and sea, and perhaps it is this amalgamation of ancestry and cultures that gives him deep understanding, taking into account each detail with loving detachment and release. As De Veyra draws on his technical mastery of composition and material brought about by decades of practice, he injects each stroke, line, and drip with the experience and wisdom he has gathered through the years simply by braving the waters, reminding us that wherever life leads us, we have command of the wheel. Kaye O'Yek Patrick de Veyra Patrick de Veyra (b. 1982) is a visual artist, art educator, writer, and former Philippine youth ambassador selected by the Office of the President of the Philippines-National Youth Commission to the 33rd Ship for Southeast Asian Youth Program (SSEAYP). He is an alumnus of the Philippine High School for the Arts (PHSA) and recipient of the Outstanding Artist Award for Visual Arts and the Makiling Academe and Research Institute for the Arts (MARIA) Scholarship Award, an honorific scholarship awarded by the Cultural Center of the Philippines to PHSA’s top five graduates. He graduated from the University of the Philippines-Diliman College of Fine Arts with a degree in Painting (magna cum laude) and was inducted as a member of the International Honor Society of Phi Kappa Phi upon graduating from the university in 2005. In 2004, he won the grand prize for mixed media in the University of the Philippines-Diliman College of Fine Arts’ 1st Studio Arts Annual Student Competition. In 2006 and 2007, he was invited by Sunshine School (Sekolah Sinar Matahari) in Brunei Darussalam to revitalize the school’s visual arts program and, in both years, was featured in the Borneo Bulletin, an independent newspaper in Brunei, Sabah, and Sarawak. In 2007, he produced, curated, and exhibited the ‘The Best Ideas Come From The Storage Room’, an ad campaign that featured robot assemblages by his Filipino primary school students, at the ASEAN Plus China and Korea Youth Creativity Expo in Jakarta, Indonesia. As a Philippine youth ambassador to the Ship for Southeast Asian and Japanese Youth Program, he visited Singapore, Indonesia, Malaysia, Brunei, and Japan to participate in roundtable discussions with leaders of national and local governments, and to take part in grassroots programs for cross-cultural understanding.

Dambana | February 21 - 23, 2025 Dambana Emmanuel Garibay February 21 - 23, 2025 1/8 View Catalogue Video Press Release A Critical Reflection on Belief, Power, and Memory In Dambana, the sacred becomes a prism through which we examine the most defining structures of human life—its rituals, its symbols, and the narratives that sustain it. The term dambana refers to an altar or shrine, a physical and symbolic space where reverence, memory, and devotion converge. For Filipinos, it is a repository of cultural identity and collective memory, embodying the tension between continuity and rupture that defines the sacred in human experience. The exhibit probes the concept of the sacred as both a cultural artifact and a socio- political mechanism, compelling us to reflect on what we revere, why we revere it, and what such reverence demands of us. The imagery refuses to be confined by static representations, instead, it portrays symbols of devotion as living, breathing constructs—always entwined with systems of power, always subject to negotiation and reinterpretation. Figures like Homer and Tolkien, whose epics and myths have shaped western cultural consciousness, stand alongside Musk and Zuckerberg, contemporary purveyors of technology-driven ideologies. These figures serve as creators of modern dambana, crafting narratives that condition human behavior under the guise of progress. Their works and innovations, celebrated as milestones, subtly reinforce the power structures that limit human agency and deepen social inequalities. Within this tension between the past and the present, the artist foregrounds a potent and often neglected force: memory. As he observes, memory is a latent reservoir of power, a source of both individual and collective renewal. And yet, memory, when erased or suppressed, becomes a tool for domination. We are reminded that colonization, severed the Filipino people from their indigenous stories, replacing them with alien gods, alien names, and alien histories. This violent displacement left a void in cultural imagination, leaving a society adrift in fragments. But in the fractures of this erasure lies hope—the possibility of reclaiming lost narratives and recovering the creativity that springs from rootedness in one’s own history. Nowhere is this duality of oppression and liberation more evident than in the role of institutional religion. For centuries, organized faith has wielded immense influence over Filipino lives, often as an instrument of colonial domination. Yet, faith has also been a source of empowerment, particularly through movements like liberation theology, which realign religion with the struggles of the marginalized. This duality prompts reflection: how might faith be disentangled from its complicity with power and reimagined as a force for human flourishing? At the heart of this exploration is the figure of José Rizal. Revered as a national hero, Rizal’s Europeanized image exemplifies a colonial legacy that values Filipino identity only insofar as it mirrors Western ideals. Garibay, however, challenges this idolization, suggesting that Rizal must be reimagined—not as a static monument to colonial subjugation but as a model for critical engagement with identity and history. This reframing asks us to consider what it means to be inspired by Rizal rather than confined by his representation. In the end, the exhibit is a call to action—a demand that we confront the fractures of our identity, the commodification of culture, and the apathy that permeates our collective consciousness. This is not an invitation to nostalgia but to renewal, to a rediscovery of the sacred as something alive and dynamic, capable of inspiring resistance against the forces that seek to diminish human dignity. Through its profound reflections and urgent critiques, this exhibition transforms the dambana from a site of unquestioned devotioninto a space of possibility, dialogue, and hope. The question it leaves us with is not only what we honor as sacred but also how those choices shape the stories we tell about ourselves. In the act of choosing, the works insists, lies the power to reclaim our agency and reimagine the world. - CG

Paths, Found Rocks, and Moss | March 9 - 30, 2024 Paths, Found Rocks, and Moss Rafael La Madrid March 9 - 30, 2024 1/8 View Catalogue Video Press Release Finding Life, Surprising Paths, Found Rocks, and Moss by Rafael La Madrid invites us on a journey through the unforeseen interplay of nature and its elements. With a piece of rock, the artist realized how mysterious life truly is. One of the models for his lifelike oil paintings is a mossy, craggy rock with just the tiniest bit of green leaves sprouting. A wonderful story to tell behind the image is that the central object within started dry and smooth, yet curiosity and the artist’s restless spirit compelled him to water the rock every day, not knowing what to expect. Surprisingly, after a few months of doing this repetitive activity, life sprouted. Through his masterful strokes in rendering this moment in oil, La Madrid shows his viewers the intricate connections between life, renewal, and the inherent beauty in both the organic and inanimate. Each brushstroke from La Madrid unveils hidden stories of growth and transformation. His canvases depict interior and exterior scenes where the boundaries between the natural world and human viewpoints blur. Through meticulous attention to detail, he captures the essence of new life taking root amidst the rugged landscapes: a copse of trees reaching deep into the soil, hidden passages amidst layers of rock, a view from within a cave looking out into the light, overgrown tree trunks, and exposed roots. With breathtakingly detailed pieces, he references larger forms of nature, such as mountains, to refer to their smaller-pieced parts, dwelling not only in their magnanimity but also in the elements that help life grow, such as water and sunlight. The artist's compositions draw us in, inviting us to wander along winding paths that suddenly appear, trace the intricate patterns of moss-covered stones, branches, and fully grown trees, and marvel at the resilience of life emerging from unexpected places. He also draws inspiration from literature, specifically The Road Not Taken by Robert Frost, or more memorably, that of two roads diverging in a narrow wood. Viewers are transported into vistas of wonder and inner contemplation as they are pulled into the image and invited to engage with La Madrid's works. The intentional labeling of his artworks integrates text into the image, adding another layer of meaning and reinforcing the artist's seeming impulsion to further draw us into awe. Paths, Found Rocks, and Moss challenges us to reconsider our perceptions of beauty and growth and show us how light illuminates each minute surface it touches, giving not only gravitas to the frozen moment but also hope and luminosity despite darkness. As La Madrid's exploration of the unexpected reminds us of nature's ability to thrive in the most unlikely of environments, given an artist's loving care, he also encourages us to embrace serendipitous moments of discovery, finding solace in the ever-unfolding cycle of renewal. Kaye O'Yek