REGENERATION: | Jan 07 - Jan 28, 2023 REGENERATION: The Art Cube Inaugural Venue Exhibition Jan 07 - Jan 28, 2023 1/5 View Catalogue Video Press Release

Mid-Career Crisis | June 7 - 28, 2025 Mid-Career Crisis Cedrick Dela Paz June 7 - 28, 2025 DSC09828.JPG 1/6 View Catalogue Video Press Release 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. In “Blangko,” Dela Paz foregrounds the tension of beginning. The canvas, left untouched, is not passive. Instead, it imposes itself as a burden and a frame—visually suggesting that the artist and his work are one and the same. Here, the act of facing the canvas is also an encounter with the limits of one’s own drive, vision, and persistence. The blankness becomes an active field of reckoning. In “Nocturnal,” the artist depicts himself hunched over a work, marked by a mechanical key on his back and a clock looming in the background. The imagery is clear: painting has become a race against time, an obligation tied to external demands. The sense of being wound up, driven by forces beyond the artist’s control, reflects the fatigue and repetition that come with deadlines and professional pressures. While many of the works are introspective, the exhibition also turns a critical eye toward the larger art world. In Silaw, for instance, the spotlight itself becomes the subject, suggesting how visibility can both illuminate and distort. In other pieces, the figure of the collector looms—less as a benefactor and more as an unseen force shaping artistic production. These works point to a network of expectations that often directs the artist’s path as much as, if not more than, personal intention. Still, Mid-Career Crisis does not present final answers. If anything, it underscores the unfinished nature of an artist’s growth. There is an ongoing negotiation between practice and doubt, process and pressure. The arc of success, however defined, carries with it a weight that Dela Paz confronts with clarity and restraint. In this exhibition, painting is neither romanticized nor dismissed—it is examined, with a sense of sobriety shaped by experience. -Carlomar Arcangel Daoana Cedrick Dela Paz, born in 1995, is a visual artist from Pasig City, Philippines. He studied Visual Communication at Eulogio “Amang” Rodriguez Institute of Science and Technology (EARIST) in Manila. Since 2018, Cedrick has been a consistent finalist in numerous art competitions, earning recognition for his distinct approach. In 2019, he received a Special Citation from the Metrobank Art and Design Excellence (MADE), which paved the way for his debut solo exhibition later that year. Cedrick’s practice is rooted in figurative expressionism, with a strong focus on social realism and the cultural dimensions of contemporary societal issues. He is known for his unique portrayal of the human form—distorted yet grounded in reality—challenging traditional representations to draw attention to individual narratives. He primarily works with acrylic on multi-panel compositions (polyptychs), using this format to underscore the singularity of his subjects and the layered depth of their stories.

Beyond The Scars: Illuminating The Light Within | September 2-30, 2023 Beyond The Scars: Illuminating The Light Within Daniel Dela Cruz September 2-30, 2023 1/7 View Catalogue Video Press Release Beyond the Scars: Illuminating the Light Within Adversity shapes us, but it does not have to consume us. In life’s journey, we inevitably encounter trials and pain that leave scars upon our hearts and souls. Constant reminders of our battles, these scars do not define who we are. We are more than the sum of our wounds; we are resilient beings capable of letting the light shine from within, illuminating the darkness that tries to engulf us. Instead of allowing our scars to become prisons of sorrow, we can transform them into stories of triumph. The human spirit possesses a remarkable ability to rise above pain, find meaning in suffering, and emerge stronger than ever before. Our scars can be symbols of courage and perseverance that inspire others to face their own trials. Letting the light shine from within requires self-compassion and acceptance. It means acknowledging our vulnerabilities while embracing our strengths. By doing so, we allow the light of resilience and hope to radiate outward, touching the lives of those around us. We can become beacons of positivity, offering comfort and support to others struggling in their own darkness. We can guide others on their healing journeys through our experiences and the wisdom gained from overcoming adversity. Our scars then become bridges of empathy and understanding, connecting us in our shared humanity. We are more than the scars we bear. Despite the trials and pain, we possess the power to transcend our wounds and let the light within us shine. Embracing our scars, we can foster hope and resilience within ourselves and inspire others to find their light in the midst of life's challenges. Together, we can create a world where compassion and inner strength prevail, illuminating even the darkest corners of existence. Let us embrace our scars, recognizing that they are not indicators of weakness but badges of strength. By harnessing the power of our inner light, we can transcend our wounds, inspire others, and create a world where compassion and empathy thrive. Daniel Dela Cruz Daniel Dela Cruz Daniel Dela Cruz, an accomplished sculptor driven by a fervent passion and endowed with an innate curiosity for tangible forms, has essayed through works that span decades the interiority of the human condition, the predicament of modern life, and our small—but no less significant—attempts at transcendence. From molding clay in his boyhood to shaping intricate forms with found objects, his love for sculpture is animated by the yearning for philosophy, which he studied at the University of the Philippines. Coming from a family of doctors and involved in product design for export handicrafts throughout much of his professional life, his devotion to sculpture remained unwavering. A pivotal moment arrived at his 40th birthday in 2007, spurring him to finally embark on his artistic endeavors. Mentored by luminaries Arturo Luz and Lor Calma, he debuted as an artist with his first solo exhibition, Kandungan—an ode to the feminine form and motherhood. Dela Cruz’s art draws from his education and design background, seen in projects like the iconic metal torch for the 2019 Southeast Asian Games. His diverse creations range from robust sculptures to complex pieces, all evoking a profundity of thought and emotion. His exhibits, including Material Culture, critique the excesses of materialism, while his iOS-lation series delves into technology-induced isolation’s impact on mental health. Beyond his artistic creations, he has remained committed to fellow artists, leading the Visual Arts Helping Hands Foundation, which provides funding and direct intervention for medical issues. Daniel Dela Cruz’s artistic journey is a testament to his dedication to his craft, innovation in form and technique, and resonating impact on the visual arts community. Through his works and philanthropy, he is proof to the vital role of artists in the life and imagination of the country while establishing a legacy that is at once indelible and inspiring,

Flimsy Cobweb Sheets | September 2 - 30, 2023 Flimsy Cobweb Sheets Carzen Esprela & Lui Gonzales September 2 - 30, 2023 1/8 View Catalogue Video Press Release Flimsy Cobweb Sheets An individual's character is highly dictated by their manner of storing and retrieving acquired thoughts, perhaps; a dilemma in terms of retaining or omitting an idea. Say, a place dependent on identity may evolve to a level of taste. Cleaning an old room involves careful analysis of which to keep or discard. Old receipts, old coins, old keys, photographs, letters, etc., are presented all at once. In the choosing, the room is prepped for receiving. Some are displayed, some kept in cabinets or drawers. This is the case in Gonzales' and Esprela's works; carefully selecting which parts of their work they choose to keep. Referring to old photographs, Esprela carefully paints scenes of travels documented through time; copying the background, keeping the memory of that particular photographed place. He then presents biomorphic silhouettes of people seemingly decaying from its solid forms; indicating the impermanence of an individual in relation to a place. Gonzales' layered drawings perform a visual bombardment of memories presented on a plane. Thoughts on how sunlight affects a surface, giving warmth and growth, creating a symbiotic relationship; the accumulated experiences shared with random animals were given great importance by Gonzales in choosing her images. Her drawings depict the relationship of an individual to nature. Layer after layer of drawn figures as she tears the sheets exposing multiple memories as a single event. In "Flimsy Cobweb Sheets", both artists present their compulsions to peel and peek through. Retention of details is integral to their process creating a visual representation of a tasteful accumulation and decay. Raymond Carlos Carzen Esprela & Lui Gonzales Carzen A. Esprela (born 1994) studied visual arts at the Philippine High School for the Arts and earned a Bachelor of Fine Arts degree in Painting from the University of the Philippines in Diliman in 2016. His thesis work 'Bag in a Boat' has been featured in various public spaces and art exhibitions such as at Art in the Park, UP Fine Arts grounds, Tin-aw Art Gallery, and the UP Vargas Museum. Esprerela explores memories of significant people and places in his art. His debut solo exhibition, "Hinumdom," meaning 'to look back' in Visayan, took place at Pinto Art Museum. Artist and musician Lui Gonzales, graduated as an Art Scholar majoring in Visual Arts from the Philippine High School for the Arts and obtained her Bachelor's Degree in Fine Arts at the University of the Philippines, Diliman. In 2010, she was chosen as one of the representatives of the Philippines for the ASEAN Youth Camp for Visual Arts held in Hanoi, Vietnam, and in 2020, she was a finalist for the Ateneo Art Gallery's Marciano Galang Acquisition prize. She considers her contemplative drawings and layered works to be a visual representation of memory. Since 2006, she has participated in exhibitions in the Philippines and abroad. Now residing in Quezon City as a full-time artist, she continues to create pieces with images ranging from portraits, still lives, and various scenes.

Still Standing Firm Paul John Cabanalan, Jason Delgado, Delmo, Noel Elicana, Orland Espinosa, Tyrone Dave Espinosa, Joebert Gayoma, Jirah Labanza, Roland Llarena February 10, 2024 - March 2, 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 Still Standing Firm “And stand together, yet not too near together: For the pillars of the temple stand apart, and the oak tree and the cypress grow not in each other's shadow. -Khalil Gibran, The Prophet Still Standing Firm marks SIGAHUM’s 4th group exhibit, paying homage to their creative roots and ongoing journey toward artistic maturity. This creative odyssey has led the members of the Iloilo-based artist group from shared local beginnings to diverse cosmopolitan platforms and individual life paths. Leveraging their background in architecture, the exhibit features an installation where stretched canvases and wooden panels serve as pillars, arranged back-to-back in the gallery space. These pillars, beyond their structural role, symbolize the creative, social, and motivational strength inherent in artist communities. Each pillar stands as a testament to the power of diversity fortifying the collective aesthetic. Feet and tree limbs interchangeably represent rootedness and the pursuit of growth. While sharing common symbols, each artist employs them to narrate a distinct trajectory: for Jason Delgado, feet symbolize the supple but firm inspiration derived from his new family; for Noel Elicana, feet become symbols of the reliable scaffolding that Faith has been in his journey; and for Tyrone Espinosa, intricately carved bird-like feet in Lawaan wood characterize the constant grappling for a moral footing to contextualize life’s trials. The fertile soil forming the foundation of a resilient forest links the works of PJ Cabanalan, Delmo, Orland Espinosa, and Jirah Labanza. For Cabanalan, Delmo, and Orland Espinosa, the forest is a magical haven filled with fantastical creatures tending to a primordial sacred way of living. Delmo imparts an ethereal glow to his painted works, hinting at an inner world where timeless resilience and constant peacefulness can be found. PJ Cabanalan and Orland Espinosa sustain their creativity through a playful approach to painting, tapping into the rich reservoir of their subconscious and discerning the unfolding stories within. Jirah Labanza sees the motherly nurture inherent in nature, which she lovingly depicts in her quaintly painted rendition of birds’ nests nestled in tree branches. Joebert Gayoma and Roland Llarena turn to innerscapes interpreted respectively through surrealist symbolism and minimalist abstract color fields to assert their unique voice on their ongoing search for identity. Despite the centralization of art's economic activity in the capital, these artists from the south of Manila choose to embody and narrate stories and vantages from their home province. They draw confidence from the mutual support within the collective, emphasizing the importance of roots and rootedness. Keeping their feet firmly planted reflects their deeply-held faith that the strength of their pillars depends on the depth of their foundation. While a pillar can stand alone, its true merit lies in how strongly it supports the other pillars of a structure. It is artists building each other up, conscious that they are the pillars holding their shared dreams—each one standing authentically while supporting another. Alee Garibay 1/1

Framed | Janury 13, 2024 - February 3, 2024 Framed Ciane Xavier Janury 13, 2024 - February 3, 2024 1/10 View Catalogue Video Press Release Framed In 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. "Framed" is an exploration of womanhood, seen through my personal transformation and societal reflection. The artworks delve into female identity, maturity, and the intricate dance between personal evolution and external perception. It offers a spectrum of textures and depths that parallels with the complex layers of the female experience. The narrative of this exhibition extends beyond my personal journey, posing critical questions about the societal constructs surrounding women. It ask the viewer to reconsider preconceived notions about femininity, particularly in the contexts of motherhood and artistic creation. Through this body of work, I seek to foster a dialogue on the recognition and understanding of women's multifaceted roles and contributions. "Framed" is a reflection of the profound journey of becoming a mother and an artist. Is an invitation to engage with the diverse realities of womanhood, underscoring the resilience, beauty, and transformative power inherent in the female experience. This is my own personal transition but also resonates with the broader narrative of women's empowerment and identity. Ciane Xavier Ciane Xavier is a sculptor, painter and multimedia artist who utilizes cutting-edge 3D technology and 3D printing alongside photopolymer resins to craft her sculptures. Her unique approach includes incorporating 3D animations into her artwork. A native of a small town in the countryside of South Brazil, Ciane has always been drawn to exploring diverse cultures worldwide. This aspiration led her to pursue a career as a fashion model, fulfilling her dream of traveling to numerous countries and immersing herself in different cultures. Having lived in over 14 countries since her teenage years, Ciane's life experiences have deeply influenced her art, culminating in a profound exploration of selfhood and identity. Her work delves into the complex interplay between technology and nature, as well as societal and cultural issues. Through her art, she offers a unique perspective on the world, reflecting her personal journey of identity loss and selfreconstruction. Ciane's artistic journey began unexpectedly while she was residing in the Philippines, painting the walls of her new apartment. In a transformative moment, she discovered her inner artist, expressing herself freely without constraints, daydreaming about her life experiences and giving form to her deepest emotions. This revelation propelled her to fully embrace the path of art. Since that pivotal moment, Ciane has dedicated herself to honing her skills as a painter and sculptor, experimenting with various materials and techniques to create innovative pieces. Her integration of 3D technology and 3D printing has opened new avenues for artistic expression, allowing her to push the boundaries of what is achievable in the world of art. By seamlessly blending her artistic vision with technological advancements, she has crafted captivating pieces that resonate with viewers on multiple levels. As a self-taught visual and multimedia artist, Ciane's journey of learning and growth has been marked by discipline and dedication. Her thirst for knowledge and her drive to evolve have led her to delve into programming, atomization, and game development. She has skillfully used Virtual Reality experiences and spaces to explore her thoughts and creativity, enabling her to craft unique and immersive artistic encounters that defy conventional boundaries. Ciane's artworks symbolize a potent blend of power, fragility, vulnerability, and eternity, inviting viewers to engage in a dialogue and question their assumptions. With deliberate vagueness, she encourages curiosity and introspection, allowing her audience to find their own meaning within her art. Through her work, Ciane strives to comprehend the intricacies of the human psyche in the modern world and prompts viewers to reflect on their own lives and experiences. Her art is a testament to the potential of technology as a medium for conveying powerful messages and provoking thought. Ciane's commitment to pushing the limits of art and technology highlights the profound impact that self-motivated learning can have on one's creative journey.

The Six-Sided World | December 2, 2023 - January 6, 2024 The Six-Sided World December 2, 2023 - January 6, 2024 1/12 View Catalogue Video Press Release 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

The Anthropometric Man | October 4 - November 1, 2025 The Anthropometric Man Carlo Tanseco October 4 - November 1, 2025 1/6 View Catalogue Video Press Release 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. At the heart of this exhibition is a suite of shaped canvases depicting the anatomically ideal man—riveted at the shoulder, elbow, hips, knees, and ankles, which allowed for bending, twisting, and positioning. The figure embodies movement, recalling Tanseco’s training in architecture, where the man and his motions determine the very logic of the built environment. In this sense, the body is not only depicted but also enacted—its gestures mapping out the unseen geometries that underpin how space is experienced. In monochromatic works, the figure is shown running, his shadow in pursuit, as though chasing time itself or perhaps being chased by it. These works are echoed in a series of prints, which viewers are invited to reconfigure—an open system of permutations that expands the idea of authorship and foregrounds the collaborative dialogue between artist and audience. In contrast, his multi-colored canvases chart a mythic terrain: Icarus taking to the skies, Narcissus entranced by his reflection, a surfer carrying his board against the backdrop of a radiant disc—a nod to Tanseco’s island life in Siargao, where sea and sun shape both rhythm and reverie. These figures delve into myth and memory, dreams and desires that surge beyond the rational body. Equally striking are the yin-and-yang compositions, where dualities entwine—the eternal dance of light and dark, ascent and descent, the finite and the infinite. Such works remind us that the human figure, for all its precision and measurability, is also a vessel of paradox. Anchoring these explorations are Tanseco’s early works from the 1990s: in-the-round sculptures of pounded metal, fashioned into candleholders and object containers. Functional and tactile, they extend the artist’s inquiry into how form inhabits and shapes daily life. Anthropometric Man is, ultimately, a return and a departure. It recalls Tanseco’s architectural grounding, his search for proportion and balance, even as it embraces the elasticity of the human form—its capacity to leap into myth, dissolve into shadow, or embody the quiet symmetry of opposites. In charting these movements, Tanseco affirms the body not only as subject but as instrument: a site where deep truths are revealed in flesh, motion, and measure. -Carlomar Arcangel Daoana Carlo Tanseco Carlo Tanseco is a Filipino multimedia and visual artist trained in Architecture at the University of the Philippines. His work explores proportion, identity, pop culture, and everyday objects, integrating myth, nationalism, pattern, and childhood nostalgia into a visual language rich with symmetry, disruption, and poetic detail. Beyond painting, his practice extends to design, having collaborated with international brands and worked on furniture, product, and spatial design projects.

Panagpo: Where Paths Meet | December 6, 2025 - January 3, 2026 Panagpo: Where Paths Meet Arnica Acantilado, iSko Andrade, Max Balatbat, Blic, Plet Bolipata, Elmer Borlongan,Mateo Cacnio, RC Caringal, Jonathan Dangue, Cedrick Dela Paz, Jep Dizon, Mark Andy Garcia, Alee Garibay, Bam Garibay, Manny Garibay, Nina Garibay, Guerrero Habulan, Martin Honasan, Ryan Jara, Mark Justiniani, Joven Mansit, Raffy T. Napay, Otto Neri, Archie Oclos, Mr. S, Dexter Sy, Orley Ypon December 6, 2025 - January 3, 2026 1/11 View Catalogue Video Press Release Meeting Points for Witnessing In Art Cube's 2025 Year-Ender show, Panagpo: Where Paths Meet, an extraordinary constellation of artists whose practices rarely share a single room becomes a dynamic gathering, their works in deliberate proximity. Unfolding less as a survey and more as a convergence, Panagpo becomes a meeting place where sensibilities sharpen one another, and the shared weight of looking at the world becomes visible. The pieces may differ in temperament and technique, but what binds them is a concern for the lived moment, the human condition, and the quiet but insistent pursuit of justice through art. There is a certain gravity in seeing these voices side by side. Fragile contemplations meet rawness, with narrative sensibilities moved by emotional calibration. Figures, patterns, imagery, and interventions provide sharp disruptions to the usual exhibition probing familial dialogues, setting into place a broader inquiry on faith, community, and courage. The effect is not cacophony, but a kind of polyphonic clarity. Each artist speaks in a distinct voice, yet the themes drift toward one another: inequity, survival, tenderness, fatigue, stubborn hope. What emerges is an understanding that beauty alone is not enough, but beauty sharpened by conscience can be disarming. Not content to simply be admired, the works ask to be regarded, questioned, and in some cases, confronted. Their power lies in the way they frame the fractures and contradictions of contemporary life without resorting to despair. Panagpo suggests that art can map the distance between what is and what should be, allowing dissent without bitterness, empathy without sentimentality, and critique without collapse. Many of the pieces gesture to the pressures of the moment, whether social, political, or internal. They might not do a lot of loud shouting, but they refuse to avert their audiences’ eyes, making room for discomfort and grace in equal measure. In true Filipino contemporary art fashion, there is wit, play, irreverence, and flashes of tenderness; gestures that soften the severity of the subjects at hand. The lightness here is not decorative but strategic, a way of entering difficult conversations without losing humanity. In this sense, the exhibition becomes that once-a-year record of artists who believe that beauty and justice need not be opposing pursuits. Instead, beauty can sharpen one’s sense of urgency while justice can deepen one’s sense of care. Panagpo is a gathering, but it is also a reminder that artists reflect the temper of the times, images holding both critique and compassion, and that the act of making remains one of the surest ways to insist on meaning in a world that often feels unstable. Here, the works do not merely coexist: they meet, respond, and resonate. Out of Panagpo, something larger than any single piece emerges, a quiet assertion that art remains a vital instrument for seeing clearly and, perhaps, moving forward with intention. Kaye O’Yek

Panaghoy | September 6 - 27, 2025 Panaghoy Renato Habulan September 6 - 27, 2025 1/8 View Catalogue Video Press Release Panaghoy 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. For this exhibition, Habulan unveils an installation, a series of bocetos, and a set of larger paintings. His installation, an assemblage of wax and wood, is an extension into the sculptural register, where remembrance and mourning take on corporeal density transfigured into forms at once fragile and luminous. In the bocetos, chromatic contrasts pierce through the compressed pigments, with their sharp and thickly laid strokes behaving like visual heartbeats. These chromatic incisions, carried into the larger paintings, find further pulsation through the translucent strata of wax, opening veils of depth that fracture and suspend perception. In this play of opacity and transparency, Habulan makes tangible the gravity of his subjects while exposing the paradoxes that underlie them: the burden of history rendered both material and spectral. Amidst the imagery of death, Habulan’s works conjure pregnant moments, births wrested from endings, where life reaches a pinnacle through sorrow-laden and violently tender points of transitions. -Janine Go Dimaranan Renato “Ato” Habulan Renato “Ato” Habulan (b. 1953) is a social-realist painter known for depicting labor, dignity, and the struggles of ordinary Filipinos. A graduate of the University of the East, his work was shaped by his early life in Sunog Apog (Smokey Mountain) and his involvement with the artist group Kaisahan during Martial Law. He received the Thirteen Artists Award (CCP, 1990), the Professional Achievement Award from UE, and has exhibited locally and abroad using mediums like oil, watercolor, graphite, and assemblage.

A Field Guide to Navigation | February 14 - March 7, 2026 A Field Guide to Navigation Eri Abe February 14 - March 7, 2026 1/6 View Catalogue Video Press Release Where do roads ultimately lead? Roads have long been considered foundational physical markers of advancement. They form channels through which movement flows—connecting places, bridging different cultures, shaping civilizations, and allowing the passage of people, stories, and goods. Metaphorically, roads also symbolize the paths our lives take when we make certain decisions: do we go straight, take the fork in the road, make detours, or turn back completely? Each choice affects our personal growth. Literally and figuratively, both meanings suggest that roads suggest direction— but do not guarantee clarity or arrival at a charted destination. Where these paths will take us—nobody really knows. Learning to navigate both city roads and life can be a challenge. Both are unpredictable, prone to chaos, susceptible to change; often, they require flexibility and adaptation. Just as we respond when we encounter obstructions, blocks, and various problems on the road, our lives are rarely a single, clean line from point A to point B. Instead, they are a series of overlays—non-linear and complex. The artist, Eri Abe, notes that both are “confusing, layered, and often misaligned”. A Field Guide to Navigation can be seen as personal notes of the artist, gathered from her experiences, memories, insights, and observations—from watching how people, animals, other beings, and the environment move, navigate, improvise, and adjust within fixed conditions and rigid systems of life. Eri’s works invite reflection on how life seemingly continues outside the lines, marks, borders, and structures we create. Even if systems are flawed or fail, life will persist, adapt, and diverge— forever seeking another way to flow. -Danna Espinosa

Divine Timing Froilan Calayag June 8 - 29, 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 In his first solo exhibition for Art Cube, Froilan Calayag unveils a spellbinding collection that showcases his distinctive style and figuration, which blends surrealism, fables, and personal mythology. Titled Divine Timing, the exhibition explores the concept of moments when everything aligns perfectly, creating a sense of inevitability and divine orchestration. For Calayag, this exhibition represents a pivotal moment in his artistic journey—a crossroads where he confronts and embraces his identity as an artist. Divine Timing reflects on his life and career, embodying his acknowledgment that painting is not just a vocation but a defining element of his existence. This show is a full embrace of his life as a painter, an acknowledgment that his artistry shapes his very being. While Calayag humbly acknowledges that he still has much to learn, this exhibition demonstrates the full mastery of his talents. The centerpiece of the show, a large-scale work titled “Bright Tides,” measuring 9 by 19 feet, exemplifies both the scale and complexity of his craft. This vibrant painting exudes an intense sense of jubilation, depicting fish leaping joyfully as bears eagerly await their catch. The dynamic interplay between the darkened left side of the painting and the well-lit right side serves as a powerful mode of storytelling, symbolizing the transition from struggle and uncertainty to clarity and celebration. “Bright Tides” is a highly symbolic work that embraces the complexities of human nature. It juxtaposes our fears and misdeeds with our hopes and virtues, suggesting that true understanding comes from acknowledging and integrating all aspects of ourselves. In addition to “Bright Tides,” the exhibition features a series of paintings that depict scenes of harvest and the receiving of gifts. These images symbolize abundance, gratitude, and the fruition of one’s efforts. They serve as metaphors for the rewards that come from hard work, perseverance, and the alignment of internal desires with external opportunities. Froilan Calayag’s "Divine Timing” invites viewers into a world where the surreal blends seamlessly with the personal, creating a rich tapestry of symbolism and narrative. By immersing us in his visionary landscapes, Calayag not only shares his own stories but also encourages us to reflect on our own inner journeys. The exhibition reminds us that every moment of magic is indeed a product of divine timing. '-Carlomar Arcangel Daoana 1/1