PAISAHE Demosthenes Campos March 4 - March 25, 2023 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 Abstracted Landscapes Demosthenes Campos continues to explore his multi-layered, highly-textured abstract idiom in his solo exhibition, Paisahe. The exhibition’s title is derived from the Spanish word for landscape, and Campos explores how landscapes—an enduring painting genre—may be translated into abstraction, and how the inner world of an individual may assume the contours of a landscape in this series of works. Throughout history, artists have been inspired by the natural world, and many have sought to capture the essence of landscape in their works. Abstracted landscape paintings have a long and rich tradition, from the Impressionists’ depictions of light and atmosphere to the modernists’ exploration of form and color. In works on canvas and paper, Campos explores how the “ground” (both an artistic and geological term) provides all that an artist needs in order to convey the varied, lush, and eventful surfaces of worlds both natural and man-made. Through a process of accretion, the artist lays down oil and acrylic pigments, evoking the infinite varieties of earth, plant life, and landscape topographies. Aside from working with the plasticity of paint, Campos incorporates a variety of materials into his works, including old canvas once used as wallpaper in an ancestral house, which imbues the pieces with a sense of history. Some of these works feature geometric elements, in acknowledgment of the canvas’ architectural past. Additionally, some of the works contain botanical elements (sourced from the same ancestral house), adding a further layer of natural complexity to the abstracted landscapes and highlighting the artist's ability to balance the organic and the geometric in his works. These plants are no longer recognizable in their original form but are already transmuted, present as deep impressions of color, particularly in the five by eight feet work—one of the largest paintings that Campos has accomplished in his career. The layers of texture and materials used in these works evoke a sense of history and memory, adding a deeper emotional resonance to the abstract landscapes. Through his use of materials and techniques, Campos creates a sense of depth and complexity in his works. These works are not simply representations of landscapes but rather interpretations of the emotional and psychological landscapes that the artist has experienced. Overall, Paisahe is a profoundly eye-opening exhibition that showcases the unique vision and artistic skill of Demosthenes Campos. By exploring landscape through abstraction and incorporating personal history and botanical elements into his works, Campos creates a body of work that is not just visually striking but also celebrates the staggering richness of the world we inhabit. '- Carlomar Arcangel Daoana Demosthenes Campos Demosthenes Campos is a Filipino artist who graduated from the Technological University of the Philippines with a degree in Fine Arts, major in Advertising. He has participated in numerous group shows and solo exhibits in various galleries in the Philippines and is a recipient of awards from established institutions such as the Art Association of the Philippines’ Annual Art Competition in the Mixed Media Category, 2nd place at the Philippine Association of PrintMaking and a honorable mention in Mixed media category at GSIS National Art Competition Demosthenes Campos continues to explore his multi-layered, highly-textured abstract idiom in his solo exhibition, Paisahe. The exhibition’s title is derived from the Spanish word for landscape, and Campos explores how landscapes—an enduring painting genre—may be translated into abstraction, and how the inner world of an individual may assume the contours of a landscape in this series of works. 1/1

Inhabitants | February 6 - 8, 2026 Inhabitants Don Bryan Bunag February 6 - 8, 2026 1/10 View Catalogue Video Press Release In Inhabitants, Don Bryan Bunag extends painting toward the condition of an inner environment—one that feels uncannily close yet remains fundamentally unreachable. Inflected by Immanuel’s Kant thought of “inner sense,” the means by which we perceive and represent the various states of the mind, the works situate the viewer before spaces that resemble thresholds, cosmic events, and scenes on the verge of transformation: domains that seem to recognize us, even as they seem estranged. Working within a restrained monochrome tempered by bluish inflections, Bunag summons a visual language of sacred geometries, portals, structural repetitions, and quiet intimations of the void. The scale of the canvases amplifies this encounter, drawing the body into a direct confrontation with form and absence, surface and depth. These are not images to be glanced at but fields to be entered—if only imaginatively—through the artist’s unwavering and exacting vision. From the impenetrable opacity of the triptych “God of the Gaps” to the hovering incision of “Omnipresence,” Bunag translates mystery into the living matter of paint. Fabrics and threads are integrated into the canvas, producing textures that feel embedded rather than applied, as though signals were being transmitted from beneath the skin of the work. These tactile interruptions suggest coded messages—traces of an underlying order, or perhaps of its breakdown—hinting at realities that exceed what can be fully seen or named. At once hair-raising and deeply poetic, the works seem to arise from pure conjecture, aligning themselves with the speculative logic of science fiction. They propose parallel worlds that coexist with our own, not as escapism but as a recalibration of vision. In doing so, Inhabitants clears the senses, inviting a renewed intensity of looking—and with it, an exhilaration of being fully, precariously present. -Carlomar Arcangel Daoana Don Bryan Bunag Don Bryan Bunag (b. 1993) surveys and reframes identity through interpretations of spiritual and metaphysical landscapes that respond and embrace sensibilities related to memory, space, and time. Bunag’s practice center on the sentimentality of remembering through a series of carefully arranged mise-en-scène, which dominates his body of works. Forming these narratives, Bunag evens out every element in his compositions by using monochromatic colors that emphasize the neutrality of forms and release the work from any central figure or subject. Thus, dispensing the experience of looking at a canvas or the gallery space as the central landscape --- seizing our sense of time in the images formed. Apart from narratives drawn from memory, Bunag re-imagines scenes from films and renders them into paintings and assemblages arresting motion, movement, and character. In doing so, the artist believes that time and self can be deconstructed and reconstructed through images, objects, and materials to help us understand and reflect on the notion of identity built through and defined by a cluster of landscapes. Bunag was selected as the Grand Prize winner of the Metrobank Art and Design Excellence (MADE) in water-based category in 2015. He was a finalist at the following competitions and awards: Don Papa Rum National Painting Competition (2019); Art Renewal Center ARC Awards in New Jersey (2019, 2018); Special citation Metrobank Art and Design Excellence (2014); Grand Prize Winner, Vision Petron National Students Art Competition (2012, 2013), and the Gintong Kabataan Awards for Visual Arts (2013) in his hometown of Malolos. In 2019, he participated in the artist-in-residence program of CANVAS in Batangas. His works have been exhibited at the UP Vargas Museum, National Museum of the Philippines, Yuchengco Museum, Kohesi Initiatives (Yogyakarta), and a solo presentation at Art Fair Philippines (Ysobel Gallery) in 2018. He has been featured in exhibitions in the United States, Spain, Japan, Taiwan and Indonesia. Bunag received his BFA (Visual Communication) from the Bulacan State University in 2014. He works and lives in Malolos, Bulacan.

Childish Macj Turla July 1-29, 2023 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 Foulies Of You In Childish, Macj Turla's third solo exhibition, the artist delves into the complex themes of escapism, the fear of growing up, and the weight of taking responsibility. Through a collection of freshly produced wide-eyed paintings framed by wood textures or hand-wrought, black-painted epoxy clay, Turla invites us to explore the nuances of human emotions and behavior, shedding light on the struggles and conflicts that lie beneath the surface of our daily lives and familiar characters in our surroundings that dwell on denial. Hide and Giggle presents a figure seeking cover behind a gray wall, addressing the childlike desire to escape from reality and evade the challenges that come with maturity. The piece serves as a reminder of the allure of a carefree existence, while his hidden playmates, chasers, and competitors personify the responsibilities and expectations that we often try to hide from. Inhaling Humor smokes out the allure of chemical substances as a means of altering one's perception of reality, prompting us to reflect on the human tendency to seek temporary relief from the pressures of adulthood, unmindful of the costs and long-term consequences. In this piece, the artist seemingly urges us to confront our vulnerabilities and question the paths we choose to escape from the struggles of growing up. Emotion Tag-a-Tag, a series of four pieces, prompts us to use the appropriate facial expression for each emotion as Turla delves into the concept of creating the various masks we wear to navigate social interactions and personal struggles. Each painting portrays what appears to be a drawing on paper, replete with the illusion of folds and crinkles, that people put in front of their actual faces to project an image, gain acceptance, or even survive in a world that demands a game face. In a way, the artist challenges us to question the authenticity of our emotions and invites us to embrace vulnerability and honesty. Keeping in mind Turla’s creative journey and past experiences in his relatively young life, we have seen his previous solo exhibitions reflect specific memories of tragedy and consequence; Childish veers away from the burnt parts, evocative line-heavy multilayered images, and chaotic compositions of his past works. His imagery now may appear simpler and less cluttered, but it does not lighten meaning-making in any way. It is an open invitation to look beyond the surface level and ponder what each piece actually says—what appears playful may not be all it seems, as we often get distracted by our judgment of what adults are supposed to be. More sinister forces might be at hand, or perhaps it is the dogged resistance to actively seeking solutions instead of immersing one in self-sabotaging abysmal situations; indeed, the vices quirkily portrayed in his works only result in foul confrontations with life’s follies, and we can always do better. Imponderous, mischievous, and lingering on naivete, the copious use of concrete colors reminds one of the dappled streets of youth, scratched with stone to draw whatever a child sees. Only now have clouds turned into smoke and trees into beer bottles. Innocent eyes droop heavy with worry. Everyone eventually grows old and gray, so maybe a little childishness should be OK? Kaye O'Yek 1/1

The Unseen Truth | October 12 - November 24, 2024 The Unseen Truth RC Caringal October 12 - November 24, 2024 1/4 View Catalogue Video Press Release In Unseen Truth, RC Caringal ventures beneath the surface to illuminate an essential truth about human nature: our tendency to hide, minimize, and enlarge our true intentions. As one of her paintings suggests, there is more than meets the eye. Caringal masterfully uses the topography of the human body to map emotional and psychological compulsions. In works like “Overshare,” she explores how we burden others through excessive speech, symbolized by clasped hands grasping accumulated fat on the belly. In today’s Age of Social Media, where even the most mundane details are shared, this painting resonates deeply. Despite drawing from universal experiences, Caringal avoids autobiography. Instead, she generalizes the human form, inviting viewers to see themselves in the work—confronting the need to hide emotions, the distortions of perception, and our “silent pleas” for connection. Scale plays a crucial role in her paintings, distorting reality to highlight the disparity between how we perceive things and how they truly are. Yet alongside these large canvases, Caringal’s pen-and-ink drawings reveal a subtler truth—the intimacy of the human hand, reminding us that many of our concerns, when examined closely, are smaller and more manageable than they seem. It is our minds that magnify them. Caringal’s depiction of the human body stands in stark contrast to the perfected, filtered images glorified on social media. Her figures are vulnerable, imperfect, and mortal—emphasized through her roughshod portrayal of skin. Using slight impasto, she layers paint to create textured, almost raw surfaces that reflect the imperfections of real human flesh. This technique underscores her commitment to portraying authenticity, rejecting the glossy facade in favor of a more truthful, grounded depiction of the human condition. Unseen Truth marks not only the artist’s technical evolution but also her courage to confront the larger canvas—both literal and metaphorical. Her vision is clear: painting holds the power to expose our hidden motivations, challenging us to look beyond comforting surfaces. In a world that often stays skin deep, RC Caringal urges us to dig deeper, ask questions, and seek the truths that lie beneath. Carlomar Arcangel Daoana

Canned Thoughts Carlo Tanseco May 4 - June 1, 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 Across the neighborhoods of the Philippine archipelago, from the tiniest shanty to the grandest mansion, canned goods stand as ubiquitous symbols of sustenance and familiarity. They line the shelves of sari-sari stores and supermarkets alike, bridging socio-economic divides. Among those about to live or work abroad, they carry these items in suitcases as they serve as steadfast reminders of home. Within this commonplace canvas that Carlo Tanseco’s solo exhibition, Canned Thoughts, finds its inspiration. With ingenuity and wit, the artist appropriates the labels of these everyday items, transforming them into conduits of humor, puns, mottos, and motivational statements. Working under the tradition of Pop Art, Tanseco cleverly re-interprets the names, branding, and other distinctive features of these household staples. By breathing new life into these mundane objects, he invites viewers to linger and contemplate the altered text that adorns the gallery walls. As visitors navigate through the exhibition, they are greeted with a playful reimagining of familiar objects, each bearing the imprint of Tanseco’s unique perspective. Whether it’s a tongue-in-cheek slogan or a poignant reflection on the Filipino experience, Canned Thoughts offers a refreshing take on the symbols that unite us and the stories that define us. Larger-than-life, the pieces blur the lines between two- and three-dimensionality, serving as both paintings and sculptures. Some works are offered as prints, echoing the repetition found on store shelves and further emphasizing their status as cultural touchstones. Tanseco’s vision extends beyond the confines of traditional gallery spaces. In a nod to the communal spirit of Filipino culture, he constructs a makeshift sari-sari store installation, complete with colorful snacks and candies for visitors to partake in. Here, amidst the whimsy of his creations, one can’t help but be drawn into a deeper reflection on the complexities and nuances of contemporary Filipino identity. Canned Thoughts not merely celebrates these pantry staples and what they portray but also affirms the resilience, resourcefulness, and optimism that define the Filipino spirit. In his exploration of humor, culture, and the mundane aspects of daily life, Tanseco invites audiences to reconsider the ordinary, finding beauty and meaning in these ever- present consumer goods. Carlomar Arcangel Daoana 1/1

Basyo Clark Manalo August 10 - September 7, 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 Seeing Fullness in Empty Vessels Clark Sigua Manalo’s latest solo exhibition, BASYÓ, delves anew into the world of fisherfolk by exploring the objects they use daily and their symbolic weight. Working close to the Navotas fish port where his studio is located, the artist captures the essence of adaptability, utility, and the cyclical nature of life through humble plastic and styrofoam containers that he fills with images of the fishermen he encounters, their tools, and what they catch. They are then splintered and split with Manalo's painstakingly detailed painting technique and well-planned mappings of vivid colors, with cleverly placed glitches recurring as in the artist's past exhibitions. BASYÓ tells the story of these lightweight containers and the people who use them, who find such junked treasures precious in their everyday endeavors. Though recycled, they are treated with care to last longer, and they are usually found stacked neatly after long nights of labor to signify the completion of the day's work. Manalo observes their durability, noting how they withstand daily use until they finally break, mirroring the relentless labor of Filipinos who work tirelessly in all conditions. The artist also portrays their bodies occupying the empty containers in full armor against the elements–rain ponchos, improvised diving masks, rubber boots, and life vests with comfortable sandos and shorts–along with the tools of their trade: fishnets, bobbers, oars, coils of rope, kerosene- and beer bottle- lanterns, and their unwavering resolve to make an honest living from the sea, uncaring of the dredges, water lily fronds, loose branches, and other marine debris they encounter. "Hinahatak, binubuhat, ihinahagis, pinagpapasa-pasahan (pulled, carried, thrown, and passed around)"; Manalo explains of the BASYÓ, highlighting how they serve as a metaphor for the daily grind of the common worker, who exerts physical strength intensively just to survive, while those in privileged positions keep nonchalant airs yet reap greater rewards. Despite their hard work, the containers—and by extension, the workers—who play a crucial role in supplying our food deserve attention and better treatment. The artist emphasizes that BASYÓ has a different utility, especially in the fishing industry, from the start of work until its completion. He also points out that people often overlook the potential uses of an empty styrofoam box once it is discarded, especially as padding or protective molds for electronics. However, some see its value and find ways to recycle it—using it as a flotation device during floods or a storage container for important items, essential in a country facing the threat of climate change whose parts are increasingly found now under water. This use of the styrofoam box then reflects a broader, metaphoric idea: whether something is deemed worthless or valuable is often a matter of perspective and how it is used. Tragically, when these containers are no longer useful, they often end up polluting the environment, a poignant reminder of the environmental impact of discarded items. Manalo’s work prompts us to reconsider our perceptions and lend more importance not only to the empty containers where ice can be added to protect and preserve seafood to attain perfect freshness, it is also a call to safeguard the stewards of our waters, conserve the limited resources they find livelihood in, and learn from their inventiveness as they find new uses for what we deem old. '-Kaye O’Yek 1/1

Fairest of the Seasons | February 10, 2024 - March 2, 2024 Fairest of the Seasons Nina Garibay February 10, 2024 - March 2, 2024 1/4 View Catalogue Video Press Release Fairest of the Seasons "Now that I see Now that I finally found the one thing I denied It's now I know, do I stay or do I go? And it is finally I decide That I'll be leaving in the fairest of the seasons.” -Nico, The Fairest of the Seasons In the relentless and isolating complexity of contemporary life, Nina Garibay, like many of her millennial and younger counterparts, has navigated her way through self-crafted coping mechanisms to endure the fast-paced challenges of existence. Finding solace and a momentary escape in her creative process—meticulously cutting and pasting magazine pages into sanitized compositions—she appropriates the illusions of glamour to distill a sense of peace of mind. In her current reflection on maturity and growth, Nina discovers a fitting metaphor in the cycles of planting, blooming, and decay manifested in her latest series of oil paintings. Titled Fairest of the Seasons after Nico’s eponymous song, the exhibit reveals Nina’s appreciation of the genuine growth that arises from wholeheartedly embracing and immersing oneself in the changing seasons of life. Choosing to embody the archetypal Fool leaping into the unknown, akin to the bathing-clad figures in It’s Time, she attempts to capture the beauty found in transient imperfection and the offering of oneself to the natural progression of existence, embodied in the fresh green background and the open-armed figure in Welcome. But beneath the curated picturesque compositions, one senses an underlying plea for freedom—an earnest yearning for open fields while confined within paper-cut molds. It is a plea to transcend self-imposed inertia—cutting and pasting paper collages that outline an escape plan or constructing a bedroom shrine for a personal god on a new-age manifestation board. Once revered as gods shaping both the inner and outer lives of communities, seasons in contemporary times are relegated to tracking the lifespan of trends, indicating when to change one’s wardrobe (Shiver, Burning Bush). More than reinterpretations of still life and landscape paintings, Nina’s concept of fairness (beauty) is an appeal for righteous order—a plea to be dealt what she deems fair and just: an open field, peace, freedom from complications or constraints. However, much like the magazine pages from which these ideas are extracted, they are ultimately limited and alienated from context. Trapped in the eternal present, the seasons fail to impart their wisdom, resilience, and healing to this distracted generation. Nina reflects on a culture of superficiality and disconnection, lamenting and aspiring to transcend this vacuum of identity. She yearns to gain a deeper grasp and a sense of footing (Arrival), a broader perspective beyond the glossy surfaces of magazine pages or cell phone screens, aspiring to touch real grass on the other side of virtual reality. Through paper-thin studies, the artist meticulously cuts, as if inscribing the details of a silent manifesto—a quiet discontent amidst perfected images. "I want. To be. Free.” Alee Garibay

Rueda Mark Laza April 6 - 27, 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 Rueda Ayon sa eksibisyon ni Mark Laza Paikutin ang ruleta Na nakatunghay ang mata sa iyo At ituturo ang mga posibilidad Ng uniberso. Tatlong tanong Ang magdidistrongka Ng pinto ng kamalayan: Sino, Alin, Paano, Ngayong gulong Ng pagtatansya ang pipili, Saang mesa isusugal Ang kapalaran? Dito ka manahan Sa silid ng pag-iisip At banggitin: Ang totoong orakulo ay ako. Kung saan ipipihit Ang malay, Doon kikidlat sa lupa Ang sangandaan. Magkakapakpak tayo. Malalagas ang araw Sa malillit na hibla Ng liwanag. Walang ihip Ang makapapatay Sa igting na lampara Ng loob. Kahit sa tigib Ng dilim Nasasapo ang talim Ng talinghaga. Paikutin ang ruleta Na nakatunghay ang mata sa iyo At ituturo ang mga posibilidad ng uniberso. Carlomar Arcangel Daoana 1/1

Traces Jayme Lucas August 5, 2023 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 Tracking and Tracing In Traces, Jayme Lucas’ second solo exhibition, the artist delves into junctures and beliefs passed through generations through imagery and themes vital to her practice. She paints empty tracts of land in their natural state. Aside from these wide-encompassing settings, however, Lucas also paints moving people, wandering anatomical parts, and figures frozen in relaxed stances as she chronicles comings and goings and keeping still as means to dissect elements of tradition, memory, and identity, creating an absorbing visual journey. Through her well-recognized painting technique of distinct applications of pigments interspersed with scratches and glazes, the artist dredges deeply into the essence of being, contemplating the passage of time and the imprints we leave behind. This is perhaps most recognizable in The Playground, a diptych. A clearing with a backdrop of tall grass is marked by footprints and swarmed by dragonflies. According to Lucas, "this familiar setting of a barren field filled with dragonflies evokes playful memories of childhood in a rural village, a moment any ordinary barrio kid could recall fondly." For Filipino children, dragonflies are symbolic of an idyllic childhood and learning for yourself that you cannot keep winged creatures as pets. No matter how pretty the dragonfly’s holographic wings are, they cannot be owned. Trying to capture them, whether by tying a loop of thread through their soft bodies or keeping them in a jar, only leads to death. It is also a symbol of memory and reincarnation in local superstition. Children are often admonished, "Don’t touch that dragonfly! That’s your grandmother!" to indicate the reincarnation of departed loved ones, or even teased with a "Tutubi, tutubi" rhymed ditty about the insect not getting caught by a bedwetting kid. Two sets of footprints seem to have been captured as remnants of human presence making their mark in the otherwise nature-centric space. Footprints I & II (Mga Yapak) explores the belief of pagsunod sa yapak (following in the footsteps). Inspired by traditional beliefs, it reflects the idea of following our elders' literal footsteps as we navigate life's path. Critical thinking comes into play, as we have to decide for ourselves if actually following the path already taken is better for us or not. Maze is the artist’s vision of the journey in self-discovery, letting one navigate through traditions and beliefs learned since childhood, ingrained in the mind, and become force of habit. Lucas provides a localized and scaled-down twist on the concept of alien cornfield drawings abroad, allowing viewers to contemplate the complexities of not knowing if the next corner is a dead end or the finish line. The Player's Feet series captures three phases of life: the unscarred feet of a child, brimming with excitement for the adventures that lie ahead; the freshly wounded feet of an adult, navigating through life's challenges amidst thorns and brambles; and the weathered and scabbed feet of an elderly person, armored by the wisdom of age, scars serving as tangible memories of life's experiences. This series serves as a reminder that life is a journey filled with both wounds and healing. In Anim na Dekada (Six Decades), Lucas presents a poignant portrait of a 60-year-old man, overlaying it with illustrations of the traces of experiences etched onto his physical body. The scratches and glazing represent marks obtained through life's lessons, each story engraved on a person’s being and highlighting the resilience that comes with age and wisdom, while also signifying that nobody can possibly emerge unscathed. Pamana (Heritage) depicts a mother and daughter clad in identical clothing and striking the same gesture. This powerful work captures the influence of tradition and behaviors passed down through generations. The belief of "like mother, like daughter" hints at conflicts in individual identity, a common theme in Filipino culture, where we unknowingly carry forward both the positive and negative aspects of our heritage. Lastly, Sa Parehong Daan poignantly signifies the shared human experience. Each person's journey intersects with others, propelled forward by time, movement, and circumstances. Counting the days and years is marked by scratched lines, and as the figures go to and fro, one is obscured by a swarm of dragonflies appearing anew. As Lucas takes us on an introspective journey through empty rice fields and congested walkways, she ruminates on existence. In tracing the hows and whys of being, the artist not only accounts for the actions of today but also acknowledges the factors that may have influenced them in the past and opens the conversation for future recourses. We trace genealogy through common traits of DNA strands and track pathways by following impressions on earth, ash, and grass. The use of dragonflies as symbolism may be prevalent in her recent works, but as she uses it as a device explaining already existing beliefs, who knows if she imagines a different flight plan for these winged creatures? The act of tracing may follow a guide, but does it necessarily mean that we should draw inside the lines? Perhaps this exhibition tells us otherwise. Kaye O' Yek Jayme Lucas Jayme Lucas (b.1996) grew up in Tarlac, within the Luisita area, where she became exposed to its socio-political history. She graduated with a Bachelor of Fine Arts major in Advertising at Tarlac State University, where she earned her Master’s degree in fine arts at the University of Santo Tomas Graduate School in 2020. In 2019, Lucas received the Grand Award in the oil and acrylic painting category from Metrobank Art and Design Excellence. The following year, Lucas became a Tuklas grantee of the Eskinita art gallery program. She then resumed her career by becoming a full-time artist. Lucas' works are influenced by her observance of the intricacy of local landscapes and portraits of people. She experiments on the connection of human conditions to social realities defined in a melancholic mood and subtractive technique on the oil-textured ground; this mainly shapes the form and substance in most of what she tries to expound. 1/1

Still Arel Zambarrano February 14 - March 7, 2026 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 Moving In STILL, Arel Distor Zambarrano presents two interconnected bodies of work that examine measurement, perseverance, and grounded positivity. The exhibition centers on the titular STILL, a 15-piece polyptych of considerable proportions, and Optimism Underpinned, a suite of 30 smaller works. Together, they articulate a practice shaped by discipline yet animated by motion, steady and forward-looking. The large scale polyptych is composed of canvas and metal strips of polgadera, the pull push rule essential to architectural practice, drilled and then fastened together with nearly indestructible metal rivets. As a tool, the polgadera signifies precision and calibration. Here it becomes metaphor. Contemporary life is structured by measurement and ruled by numbers: deadlines, dimensions, and digits in our bank accounts that attempt to define our value. Interlaced with the loosely cut and painted canvas strips camouflaging a sprawling growth, the flexible metal rules that draw blood when carelessly handled impose order while yielding to gesture. The result is a field of tension between control and fluidity, industry and nature. Stillness emerges not as inertia but as resolve, an artistic compass oriented toward endurance and ascent, Zambarrano’s true North Star. Red dragonfly cutouts traverse the panels. Though materially flat, their wings and paint-flicked, highlighted bodies suggest strength and movement. The dragonfly functions as both motif and self-image. Defined by adaptability and acute vision, capable of near 360 degree sight and agile, multidirectional flight, it hovers, pivots, accelerates, and sustains, populating swamplands. These qualities parallel not only the artist, a proud local of coastal Banate, Iloilo, but his navigation between architecture and art. Once sustained by small paintings during his architectural studies, he now supports his art practice through market lulls by his projects as a licensed architect. The exchange feels balanced and complete, allowing him freedom and the space to unleash unbridled passions. In Optimism Underpinned, Zambarrano extends this language. In construction, underpinning refers to strengthening an existing foundation by reinforcing or deepening it to ensure stability. Adopted metaphorically, underpinning becomes an act of fortifying one’s resolve. The artist’s recurring dragonflies appear larger here, set against layered, textured grounds enlivened by vibrant paint, punctuated by weatherproof copper nails, and collaged cutouts of furniture, product labels, text snippets, and fragments of everyday life. While recalling pinned specimens, these figures resist stasis, pounded nails resembling swarms of wildlife themselves, serving as visual anchors rather than immobilizers. The smoothly bent-edged acrylic frames holding the layered and textured surfaces suggest support rather than confinement. Even amid uncertainty, there is anticipation, an excitement for possibilities and what’s to come. Despite its engagement with measurement and structure, STILL is marked by clarity and warmth. The exhibition reflects a present state shaped by responsibility and gratitude, celebration and cheer shining through in golden yellows. As a father of two young daughters, the artist situates protection and continuity at the core of his practice. The dragonfly becomes both self-portrait and guardian. The woven polgadera measures not only space but commitment. Through calibrated surfaces and gossamer Awings, Zambarrano affirms that stability and optimism can occupy the same ground, and that from reinforced foundations one can continue to rise. '-Kaye O’Yek 1/1

Compass Marika Constantino, Julieanne Ng, Katherine Nuñez, Camille Ver April 12 - May 7, 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 COMPASS 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. Building on this, our works also reflect the quiet strength that comes from surrendering to the process of creating. Art-making is a way of letting go—of control, fear, or doubt—and allowing something greater to guide each layer and stroke. It’s a space where struggles, prayers and gratitude come together, forming an offering of possibilities for healing and connection. Taking the inherent properties of these materials, we translate visual and performative forms into patterns as a reflection on repetition and ideas of utility. Our works are the results of our journey towards understanding ourselves and where we belong in society. Through our experiences of the mundane, we use these seemingly everyday routine as a source of our practice. Finding beauty and joy in the present. These things that are overlooked transcend their origin into something worthwhile. There is, what Pat Schneider talks about in her poem "The Patience of Ordinary Things," a practice through explorations on materials and processes. And in both creative and ordinary lives, this patience is regarded as a compass—a way to navigate a tumultuous world with the attentive silence. MC/JN/KN/CV 1/1

Esaes, Eyag, tan Kareenan | November 4 -25, 2023 Esaes, Eyag, tan Kareenan Abet Sison, Aeron Dizon, Ben Albino, Boni De Guzman, Boy Patalim, Carl Zarcilla, Carlo Talion, Domeng Cruz, Edz Calimlim, Frenk Sison, Gino Tioseco, Herwin Buccat, Jeffrey Somera, Jerry Buccat, Kinoo Padlan, Kryzelle Pasion, Mak Delos Santos, Mel Casipit, Mona Vince, Nathaniel Jovero, Noli Dela Cruz, Paulyn Albino, Pochacho Patatas, Prince Logan, Queenie Marzan, Rehas, Richard Celeste, Sarmancheta, Van Zachary Turingan, Vern Pascual, Wenn Licuanan, Yort November 4 -25, 2023 1/8 View Catalogue Video Press Release Esaes, Eyag, tan Kareenan Whispers, Screams, and Calmness Pangasinan is a developing province with a re-establishing culture. As Pangasinenses, we are in the process of rediscovering our identity, which has been somewhat lost over the years due to the influence of the developing world. Unfortunately, culture and the arts have often been neglected by the people in the province. However, the province's artists are taking a proactive approach by immersing themselves in the environment to seek and restore the lost identity. Our goal is to establish a distinct identity that will define us and shape the future of the province. To achieve this, we are exposing ourselves to various cultures, disciplines, and principles; striving to learn and apply them to our own context. Despite the diverse range of artistic styles and interpretations, we are collectively dedicated to using this diversity as the foundation of our vision for promoting the arts in the province. In the realm of the art scene, we are still in our infancy; with our voices being mere whispers in the ears of a few. However, our passion for knowledge is fervent, and we eagerly embrace opportunities to learn and reflect our lessons through our art, sometimes challenging established norms. While this journey may seem arduous, we are fortunate to have the support and helping hands of one another to propel us forward. Progress may be gradual, and we acknowledge the risks and occasional setbacks, but we remain optimistic about the results. We are on the path to becoming a prominent presence in the art scene, eagerly anticipating the day when we will create our own waves of success, thus representing the province. We firmly believe that, as long as we remain steadfast and united, the "sons and daughters of the sun" will shine brightly, harnessing the inherent power of strength. Maksil kami ed pankakasakey mi! Frenk Sison