Revisiting Shadows | October 12 - November 02, 2024 Revisiting Shadows Isko Andrade October 12 - November 02, 2024 1/6 View Catalogue Video Press Release In Revisiting Shadows, Isko Andrade revisits a period in his life marked by struggles and uncertainties, a time heavily influenced by the pandemic but also shaped by personal upheavals. As he navigated these challenges and made critical decisions to secure his peace, Andrade’s psychological and emotional journey is now at a stage where he can “revisit” these moments and translate them into his art. In this exhibition, Andrade presents a suite of interrelated works that feature his signature motif: the red cloth. This cloth serves as both a concealing and revealing force. While it shrouds objects beneath, the shapes they reveal outlines and even cast shadows on the surface, hinting at what lies within. These objects are symbolic, representing domestic life, mental and emotional struggles, and the myriad challenges of everyday existence. Yet, Andrade resists the urge to overshare, leaving the viewer to intuit their meaning, creating an air of mystery and restraint. The cloth itself becomes a powerful metaphor. The threads speak to severed connections, while the delicate lace, meticulously rendered, offers glimpses of fleeting happiness. By containing these “shadows,” the cloth secures them in place, preventing them from causing further harm. Andrade’s careful attention to scale and dimensionality makes these forms appear three-dimensional, as if one could reach out and touch the ropes that secure the symbolic package. Revisiting Shadows reminds that we may never fully understand what another person is going through in life. Often, even the individual may lack complete insight into their own struggles. This underscores the need for patience, kindness, and empathy in our interactions. We don’t have to demand a detailed account of someone’s pain or challenges—it’s enough to recognize that each of us is fighting our own battles. Sometimes, simply acknowledging the presence of those struggles, without probing too deeply, is the most compassionate response we can offer. What makes Revisiting Shadows particularly compelling is Andrade’s ability to explore deeply personal themes without being overt. Through subtle allusion rather than direct exposure, the artist turns revelation into a powerful and poignant act, reminding us that sometimes what remains unseen speaks the loudest. -Carlomar Arcangel Daoana

Flocking Animals | February 21 - 23, 2025 Flocking Animals Guerrero Habulan February 21 - 23, 2025 1/13 View Catalogue Video Press Release For his solo exhibition Flocking Animals, presented by Art Cube for Art Fair Philippines, Guerrero Habulan delves into the dynamics of congregation—the unseen forces that draw individuals together, shaping collective identity and critical mass. Through his layered, intricate compositions, he dissects the interplay of devotion, tradition, and historical burden that define the post-colonial Filipino experience. Habulan’s fascination with mass gatherings stems from his long-time documentation of native feasts, particularly the Traslación in Quiapo and the Holy Week processions in Pampanga, where fervent devotees engage in self-flagellation and crucifixion rites. These rituals, steeped in Catholic symbolism, also reveal a deeper syncretic nature, merging indigenous and colonial influences into a singular, complex spiritual expression. In his works, this convergence manifests through figures in flux—assembled, moving, and drawn toward an unseen yet palpable force at the heart of the composition. Revisiting and reconfiguring past motifs, Habulan transforms the once-passive “sitting ducks” into standing figures—emboldened, resolute, no longer merely subjects of fate but agents within a collective movement. His figures, often juxtaposed with Western iconography both real and imagined, refuse subjugation. Instead, they stand their ground, meeting the gaze of history—and the viewer—with unwavering presence. The visual intensity of Flocking Animals is reinforced by Habulan’s dynamic use of oil and acrylic on both paper and canvas, integrating techniques drawn from Abstract Expressionism, figuration, and serigraphy. His approach embodies paradox—disparate elements coexisting in a unified pictorial event. The artist refers to this as “conjoined,” where no singular element can be removed without disrupting the whole. Multiplicity does not fragment but rather fortifies, creating a visual dialogue that mirrors the layered realities of Filipino identity. At its core, Flocking Animals is both an inquiry into and an affirmation of the collective—its power, its resilience, and its capacity to forge meaning from history’s remnants. In an era of fragmentation and uncertainty, Habulan’s work reminds us that in coming together, we do not merely survive; we assert our strength, solidarity, and fortitude. -Carlomar Arcangel Daoana Guerrero Habulan Born in Manila in the 1980s, Guerrero Habulan became aware of the ironies of community and elite authority at a very young age. As a child, he started making space for himself in the cluttered working table of his father, renowned social realist Renato Habulan, finding it natural to draw and doodle on the paper scraps he found. He tried to create a path away from art before he entered the University of the Philippines College of Fine Arts program, but eventually found his way back in 2001 when he won Third Place in the 18th Young Painters Annual Competition of the Metrobank Foundation. In 2003, he was awarded the top prize in the 36th Shell National Students Art Competition. He is the 2011 and 2025 Vermont Studio Center Artist in Residency Awardee and was an artist in residence at Artesan Art Gallery Singapore in 2012. He was also one of the CCP Thirteen Artists Awardees in 2018 and is a member of Sangviaje, a group of young contemporary artists based in Antipolo. He has mounted solo exhibitions in the Boston Gallery, Ayala Museum Artist Space, Pinto Art Museum, BenCab Museum, Art Verite, Art Fair PH with Art Cube Philippines, and the Cultural Center of the Philippines, as well as Utterly Art and Artesan Art Gallery in Singapore. Habulan has also participated in notable group shows in Singapore, Kuala Lumpur, Copenhagen, and New York.

When the Smoke Clears and the Dust Settles Arturo Sanchez Jr. June 3 - 24, 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 Do we have an all-clear? When the Smoke Clears and the Dust Settles is a testament to how Art Sanchez expresses profundity in his exploration of identity, spirituality, and the interplay between calm and chaos. With his new pieces, most notably arrays of shadow boxes filled with spliced three-dimensional components seemingly floating in the void, the artist invites viewers into the depths of his being, all the while playing on the drama of light and dark. Recreating Hysteria 1 and 2 brings us familiarity in their cacophonic landscapes. Acrylic and collage in clear cast resin bridge Sanchez’ past and most recent works, reminding us of the horrors, confusion, and uncertainties of recent world health crises and events. Two differing views of chaos, one of them enveloped with thick and acrid ash, narrate the devastating horror and destruction brought about by warmongering. In Times of Grief, We Call On The Saints 1-4 is a series of shadow boxes housing saint heads in various states of brokenness, fragments of holy visages falling apart as we murmur prayerful supplications. Reinforced fiber glass, steel rods, and industrial paint are encased in wooden boxes under glass, capturing what is classically considered ideal beauty and sanctity and the subject of our most heartfelt petitions. Taking up a huge part of the exhibition in presence and significance, however, is Man of the Hour, with a crucified Jesus set within a shadow box 5 by 4 feet, also glass-covered. The adventure of casting the Christ figure alone took years of the artist’s life, which he considers part and parcel of artmaking combined with a long-term and continuous form of prayer. Faith takes center stage along with visible manifestations of fragility, the figure crumbling through the ages but still holding its shape as a testament to resilience and fortitude. While meditating on this piece, however, we are drawn to yet another series, this time of the artist’s family in. Live casts of their faces, painstakingly captured in detail, speak volumes about mortality and how time affects age and growth. Speaking of memento mori, none of them are as visually striking as those formed by the artist in When the Smoke Clears and the Dust Settles. Magnified, treated with subtle tones of varying darkness, and fragments that swirl and spread out in their own dynamic dances, the pieces signify the artist making peace with the circle of life, ready to start all over again. As the palpable energy in Sanchez’ pieces guides us through the gallery, an extraordinary journey through an astute artistic mind unfolds before our very eyes. This landmark exhibition marks Sanchez's 20th solo show and presents an innovative fusion of pieces. Each shadow box creates a captive art object while heightening its mystique and amplifying its symbolic significance. By comparing the casts of loved ones with those of saints, Sanchez blurs the boundaries between the sacred and the secular, challenging our perceptions of spirituality and our connections to the divine. His meticulously crafted assemblages resulted in resin-encased collages depicting moments of personal significance, capturing fleeting memories and fragments of the artist's life. They inspire introspection, ignite curiosity, and ignite a spark of creativity. Intimate glimpses of the artist, his loved ones, and iconic saints are powered fully not only by the consistency that Sanchez plays with materials and creative impulse but also clearly put on display a new direction the artist sees himself in now that things are slowly gaining normalcy once again. Kaye O’Yek Arturo Sanchez Jr. Born in Caloocan City, Arturo T. Sanchez, Jr. is a contemporary Filipino artist currently living and practicing in Angono, Rizal. After graduating with a Bachelor of Science in Architecture degree, he delved full-time into art, having joined art competitions as a student and winning several. He was a MADE (Metrobank Art and Design Excellence) semifinalist in the years 2000 and 2005-2008 and won the Grand Prize at the Art Petron oil/acrylic painting category in 2006. After being a Luzon Art Awards Finalist for the Philippine Art Awards in 2009, 2011, and 2013, he received an Award of Merit in 2012 and the Grand Prize in 2014. Due to his achievements, he was awarded the Sangguniang Bayan Award 2015 for excellence in art by the Municipality of Angono, Philippines. Sanchez has participated in numerous group exhibitions at the Cultural Center of the Philippines, the Jorge B. Vargas Museum, the Metropolitan Museum of Manila, and Art Fair Philippines, as well as galleries around Asia and Europe. He has mounted solo exhibitions featuring his paintings, mirror-integrated mixed media pieces, acrylic collages on resin, and installations in Blanc Gallery, Provenance Gallery, Finale Art File, Art Cube Philippines, and West Gallery in Manila; Nineveh Art Space in Laguna; BenCab Museum in Baguio; Equator Art Projects; and Taksu Gallery in Singapore. He is currently a member of the Angono Artists Association and the Neo-Angono Artist Collective. When the Smoke Clears and the Dust Settles is his 20th solo exhibition. 1/1

Sa Dalampasigan ng Daluyong at Dalangin Jeho Bitancor September 21 - October 5, 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 poignant homecoming exhibition Sa Dalampasigan ng Daluyong at Dalangin, Jeho Bitancor presents a lyrical collection of works that pays tribute to the resilient fisherfolk of the Philippines. These individuals, whose labor is both dignified and vital, are set against the presence of a foreign power threatening their livelihoods as well as the country’s sovereignty. This exhibition, while capturing the physical toil of these fisherfolk, also bring to fore the broader struggles they face in asserting their right to survive. Bitancor’s works unfold on canvases that highlight the beauty and majesty of the sea. Breathtaking skies and ever-changing waters serve as both a source of sustenance and a looming threat to the people who depend on it. Through a visual language rooted in Social Realism, Bitancor depicts fisherfolk engaged in their daily tasks—hauling their catch, sorting the fishes, or braving the open seas both in calm and tumultuous conditions. Long-limbed, physically expressive, their faces resolute, the figures exude a quiet heroism. The artist’s deep connection to his subject matter is evident in the evocative details of each piece. Having grown up in a coastal town in Baler, Aurora Province, Bitancor’s personal experiences with the sea are deeply imprinted in his art. Recalling the “Subasko” storms of his childhood and a perilous experience when a small banca he was riding in capsized, Bitancor intimately understands the risks that fishermen face every day. These memories, which form part of who he is, permeate the works. This exhibition is not simply an ode to the sea or those who navigate its waters. It also exposes the anxieties and the indeterminacies brought about by geopolitical issues. The waters that have long sustained the fisherfolk—affirmed by a resolution by the United Nations Convention on the Law of the Sea as rightfully ours—are now contested by a foreign power with expansionist ambitions. Bitancor’s paintings, while steeped in maritime traditions, are timely and urgent, reflecting the current reality of the Philippines with its regard to its territorial identity. Jeho Bitancor’s paintings serve as love letters to his country, that despite having lived and worked in the United States, his tender affinities lie with the archipelago, particularly with the people “with the sunburst limbs in tattered clothes, with the squinted eyes and calloused hands, with the forward thrust of weary bodies in heroic stance.” Through these works, the artist invites us to establish our solidarity with our fisherfolk, extol our waters and their bounties, and remain committed in asserting our sovereignty. '-Carlomar Arcangel Daoana 1/1

Shake,Rattle & Roll | February 12, 2022 - March 05, 2022 Shake,Rattle & Roll Pablo Constante Zingapan February 12, 2022 - March 05, 2022 1/5 View Catalogue Video Press Release Nostalgia Nostalgia. Such a simple word for something that causes us to feel many emotions. It does not relate to a specific memory, but rather an emotional state. We put an emotional state within an era, or specific frame, and choose to idealize that specific time. When an old song or a familiar smell triggers a pleasant memory of an event in our past, most of us pause to savor the momentary rush of emotions until it fades. And as good as nostalgia feels, this indicates that it is largely guilt-free pleasure, offering many tangible benefits to our mental, social, and even physical well-being. "Shake, Rattle, and Roll', the third solo exhibition of Pablo Constante Zingapan, highlights the supernatural, the Filipino mythical creatures, and superstitious beliefs. Heavily influenced by watching horror movies and reading horror stories, this paved the way for the artist to create these masterpieces. Pablo used old pictures, triggering nostalgia and an eerie feel to it. My encounter with the works of Pablo stands out among other peculiar moments I have had with art. It stimulates thoughts of wandering and introspection, of being carried away when we engage over imagination. To describe Pablo's works as unique would be an understatement. The paintings he create can be sinister and unnerving. And yet, they provoke a sense of solace at the same time. His paintings assault the senses and leave viewers reeling. Overall, Pablo's work is an artistic aide-memoire. It lingers with you long after you've turned away. We are inevitably confronted with the realization that time runs in only one direction and we can never actually return to the past. By accepting the irrevocability of the past, a reflective attitude allows us to appreciate our memories for what they are---- mental recreations of past experiences and to take aesthetic pleasure in our present experience of a memory without fretting over the fact that we can actually relive that moment in time. - Etch Vizcarra Pablo Constante Zingapan He studied Fine Arts in Far Eastern University & University of Northern Philippines in Vigan. He became a finalist in some National Art Competitions such as the GSIS Art Competition in 2019 and 2010 and the Metrobank Arts and Design Excellence (MADE) Competition in 2012. His works are mostly illustrations of horror movies, pop icons, and music he listens to, He also likes to explore new ideas about his art. At present, he has exhibited in numerous group exhibitions in Metro Manila, as well as a recent solo exhibition last 2020. For his upcoming exhibit, titled – Shake Rattle & Roll, from one of the famous horror movie in the Philippines, Pablo intends to give highlight to some of the Superstitions, Myths and beliefs adding humors to his works

Paradiso Inferno Arturo Sanchez Jr., August Lyle Espino, Dexter Sy, Don Dalmacio, Hamilton Sulit, Jon Daniega, Lec Cruz, Renz Baluyot, Rodel Jacintos, Romeo Lee, Roxanne Ricohermoso, Victoria Fabella January 13, 2024 - February 3, 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 Jason Montinola: Curating the Dichotomy of Paradise and Hell Jason Montinola brings a unique perspective to the exhibition space through his exploration of the themes of Paradise and Hell. His background, deeply rooted in a rich tapestry of literary influences and personal spiritual experiences informs his approach in the curation of the works in this show. Just like the ancient Roman poet Virgil, Beatrice, and Saint Bernard of Clairvaux who served as guides to Dante Alighieri in his epic poem Divina Commedia, Montinola invites us to journey with him to explore the realms that we have considered perfect and monstrous with the same adoring eye. Paradise: Curating Utopian Visions Montinola chose pieces that best represent our deep and inner longing for peace and perfection. The Paradise that we know and comprehend is but an imperfect vision of the true and ideal Paradise and what if Paradise if not being with God who is perfect and good? This can be seen in the works of Dalmacio, Baluyot, Fabella, Deniega, Ricohermoso, and Espino visualizing beauty, fulfillment, and tranquility into tangible structures and form. Hell: A state of eternal struggle. In Montinola’s exploration of Hell, he delves into the darker, more complex aspects of human nature. What are the moral dilemmas, inner conflicts, and demons that we struggle with? Cruz, Jacintos, Sulit, Lee, Sanchez, and Sy bring these struggles to life. They serve as a warning to the unrepentant of the inescapable presence of God but with with his face turned against them forever. Paradise + Hell is Montinola’s narrative journey traversing the spectrum of human experience, from the heights of utopia to the depths of moral despair. It is an invitation for reflection to willfully recognize and reject Paradise and Hell as markers of our souls journey toward God. RG Gabunada 1/1

Dreaming Daydreams | April 6 -27, 2024 Dreaming Daydreams Jotyl Jan Bermudez April 6 -27, 2024 DSC06284.JPG DSC06288.JPG DSC06268.JPG DSC06284.JPG 1/7 View Catalogue Video Press Release A Permission to Revel in Reverie In Dreaming Daydreams, Jotyl Jan Bermudez's 8th solo exhibition, the artist's tableau-like oil paintings invite us to explore a world where reality and fantasy intertwine. Boundaries between the real world and imagination blur in a captivating dance of combined figures and objects, reminding us that daydreaming has become a rare luxury in our daily lives. Bermudez's figures are arranged on canvas like actors on a grand stage. Overture sets the scene with performers embodying the relentless spirit of our times, where the demand for more is constant and the roles we play often require us to give beyond our limits. After all, the show must go on despite exhaustion. It's a poignant reminder that, in the fast-paced rhythm of humanity, we are often required to give more than we think we can. Places Everyone expands the cast, presenting a larger ensemble of characters to the public, showcasing the intricate dance of normalcy and absurdity in everyday life. Bermudez delves into the lives of ordinary people performing their everyday roles while drawing inspiration from the twisted complexities of Shakespearean plays. It signals the start of the show, everything in its place in the artist's life, and a world where each person plays a part. My Side of the Wall turns our gaze to the dynamics of neighbors, revealing the complexities of human relationships and highlighting the nuances of connection and disconnection within close-knit communities. The artist challenges us to consider our roles in shaping our shared environments. We never know when dramas are unfolding behind closed doors or if secrets are whispered in hushed tones. Along with his larger oil paintings, Bermudez displays smaller, framed graphite sketches that demonstrate his ability to reproduce precise details and surfaces. These drawings, like whispers of dreams, add depth and nuance to the narrative, enhancing the viewer's connection to the themes explored in the exhibition. Dreaming Daydreams continues to provide subtle social commentary with a touch of humor that Bermudez is known for, inviting audiences to find pieces of themselves mirrored in the figures on canvas. The juxtaposition of classical themes with contemporary fashion and perspectives adds depth and richness to the narrative. At the same time, the artist's undeniable skill in rendering fine details and surfaces captivates the eye. He renders figures with animal heads like in ancient Egyptian religion or uses objects that people are already familiar with, allowing his pieces to speak in a way that everyone understands. In a way, the artist is holding our hand, leading us to take a breather and lose ourselves in the fabricated illusions we need to escape, so we can immediately go back and get into the roles we need to play again—this time with more passion, more energy, and more footwork. Kaye O'Yek

A Little Bit of Everything Angelo Tabije June 3 - 24, 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 Painterly Smorgasbord Once in a while, after a succession of visual styles, an effective artist craves for experimentation as a form of welcome respite. In his second solo exhibition at the Art Cube, A Little Bit of Everything, Angelo Tabije spontaneously attempts to put together past raw signature fixtures, uncanny lines patterns and painting elements that had made him a much-sought-after artist of figurative bespoke expressions For Tabije, art is the lie that tells the eminent truth. Paradoxically, it is not that art does imitates life rather life imitates art. We learn how to dream, how to exist, how to think about ourselves through these paintings. Tabije has brought back the storytelling in his inherent visuality. In A Little Bit of Everything the first thing one discovers is how Tabije does his masterpieces in pairs. Proving depicted subjects are worth another look he repeats it again even reversing the front and back on canvas are shown. In A Little Bit About Everything Tabije does his framed parables in doting twos. Done in intense realism, Casual Threat reminisces as Korean look-alikes in oversize jackets. Posing as hip-hop rap stalwarts, it is a pin intended at consumerism evident by the canned soft drinks floating, Tabije critiques how we have become enslaved by corporate giants that offer cheap indulgences at the expense of our health. Tabije is never afraid to be self-critical. Flex shows muscle-bound and burly men lambast vanity in male- obsessed with chiseling their bodies in swirly perfection. Aside from the swipe on the manly selfishness, it was also Tabije’s way to show off his skill in rendering often difficult illustrated anatomy. Blue Green is another visual language that is making a comeback offering anime portraits attached with fixation with man and machine relationship which is the quintessential Tabije. In complimentary palette with an obvious Jose Tence Ruiz and John Santos influences, one can almost hear the clunking screws as it is a cold comment on how technology numbed our sensitivities. Progress does not always come in having the latest gadgets with the fastest and the brightest machinations to boot. One could almost turn on the switch for it to maneuver. Nothing escapes Tabije whether they be light banter or arresting issues. In Royalty, he attempts to stab at the elite lineage in fearless stance, as it eschews religion for its selfish gains. Presented in seamless strokes, Mama Mary is in sync with a well-decorated prince in monotone bravura. It even has a vintage London cab as a headpiece reminds you of a Ghengkis Khan stance while hidden in his bosom are material laces and power straps as his eminent weakness. White Pale is a dialogue between identity and innocence. Imbibing persona that one has to put up or shield for, Tabije unravels psychological hysteria that sometimes the naïve of faces could cause the gravest damage—not to think unforgettable heartbreaks. Equilibrium suggests the difficulty in emotions as one deals with life. In women, Tabije finds rather the bipolar argument shifting in women as they try to survive in dignity and love in oblivion. Notice the circles as background as it represent the cycle of life, another Tabije essential. Watcher shows a many layered cowboy riding the horizon. Expect Tabije to exaggerate to prove a thesis on false iconography to the point of over decorate the male machismo. A Little Bit of Everything offers a plethora of visual languages that co-exist--pop with surrealism, realist tensions with biochemical indulged in fantasy happen all at once in these Tabije compositions. Notable of each is these concoctions are Tabije’s alone. Tabije’s prowess is he found new aesthetics in his old creative pursuits. He dwells deeper in each subdued feature as he unlearns as he re-familiarizes given the different context for them. Looks like Tabije enjoyed the unlimited freedom as it attested his capability to imagine to no end. It was obvious he enjoyed the process. Jay Bautista 1/1

Pugad Baboy | August 13 - September 03, 2022 Pugad Baboy Cedrick Dela Paz August 13 - September 03, 2022 1/3 View Catalogue Video Press Release Hindi Makukubli ang Singaw ng Pagkabulok *** The Stench of Rot Cannot Be Concealed Ang bawat obra ni Cedrick Dela Paz ay isang pagbubukas ng apertura sa danas ng masa, silang mga nagkukumahog na makasakay sa dyip, pinapalipas ang kapaguran sa mabilisang pag-idlip, at tila upos ang lakas para labanan ang nakasanayan. Patpatin, malalim ang mga mata, nakalaylay ang mga leeg, ang mga piguras—na tila’y mala-kahon ang mga biyas—ang sumisimbulo sa mayorya, ngunit sila ang mga burado sa kasaysayan. Pinanunumbalik ni Dela Paz ang kanilang kuwento sa lawas ng kanbas, upang lagi’t laging magpaalala: hindi sila ang kalaban. Sa kanyang pinakahuling eksibit na Pugad Baboy, na may kaparehong lunan sa Pasig kung saan lumaki ang pintor at pamagat ng satirikong komiks ni Pol Medina Jr., nirerepresenta naman ni Dela Paz ang mga tinaguriang baboy sa lipunan, yaong mga tao na walang patumanggang nagpapayaman sa puwesto, nang-aagrabyado sa mga wala, at nagpapakasasa sa luma at bulok na sistema. Pamilyar at naglipana sila: sa negosyo, sa relihiyon, lalo na sa pulitika. Kahit pa nakapostura at naka-barong, hindi maikukubli ang bantot ng personalidad ng mga piguras. May isang naghahari-harian; may isang de-susi; mayroon ding nagpapakabanal. Sila ang nagpapanatili na umiiral na kalakaran kung saan patuloy na dinadahas ng may meron ang wala. Sinasalamin ito ng piyesang, “An.ekwal,” kung saan ang mga paa ng mga mahihirap ang pumapasan at bumabalanse sa mundo ng mga mayayaman. Mapangahas ang eksibisyon nito ni Dela Paz, hindi lamang dahil tahasan nitong inilalantad ang pagkarupok ng pambansang sistema ngunit sinasalimsim nito ang pagpapatuloy ng nakagawian: ang pagpuputong ng korona sa ulo ng mga tiwali, mapagpanggap, at manhid sa danas ng nakararami. Ngayong nakabalik ang ilan sa kapangyarihan, kagyat na paalala ng Pugad Baboy: walang kandado ang kadena at maaari nang kalagin. *** Every work of Cedrick Dela Paz opens an aperture into the experience of the masses, those who rush riding a jeep, who take a moment of respite from a nap, whose strength to fight the status quo seems to have been spent. Thin, sunken-eyed, their heads hanging low, the figures—whose limbs are rigidly box-like—symbolize the majority, but they are the ones erased from history. Dela Paz restores their stories across the breadth of the canvas as a reminder: they are not the enemies. In his latest exhibition, Pugad Baboy, which is also the name of an area in Pasig where the artist grew up and the title of the satirical comic strips by Pol Medina Jr., Dela Paz represents the “hogs of society,” those who amass riches while in a position, take advantage of the poor, and relish the old and rotten system that benefits them. Familiar to many, they proliferate everywhere: in the business sector, in religion, especially in politics. Despite being well put-together and wearing a barong, these figures cannot conceal the stench of their personality. One acts like a royalty; another like a mechanized robot; and another like someone holier-than-thou. They are the ones who keep the transactional system in place where the haves abuse the have-nots. This is amplified by the piece, “An.ekwal,” in which the feet of the masses balance the world that the privileged occupy. Dela Paz’s exhibition is audacious not only because it directly exposes the fragility of the national system, but because it also reflects the continuity of the business-as-usual: the bestowal of the crown on the corrupt, the flatulent, and the desensitized to the misery of the masses. With some of them back in power, Pugad Baboy has an urgent reminder: the chain has no lock and can be disengaged. -Carlomar Arcangel Daoana Cedrick Dela Paz (b. 1995) Christian Cedrick Dela Paz is a young Filipino artist who was born in Kapasigan, Pasig City, Philippines. He studied Fine Arts Major in Visual Communication in Eulogio Amang Rodriguez Institute of Science and Technology, Manila (EARIST). He is one of the young promising artists emerging in the Art industry today. Cedrick came from a family who loves to draw but his interest in the arts grew when he was in elementary where he joined a competition. Since then, he has been participating in Local and National Art competitions. In 2019, He was a recipient of a Special Citation in the Oil/Acrylic on Canvas category in the Metrobank Art and Design Excellence (MADE). He considers his works as Unconventional Figurism Art. Dela Paz is fond of distorting human anatomy as a way of showing the emotions of his subjects. He believes that emotions can also be seen within body movements. His goal is to showcase Filipino culture and art to be appreciated by future generations through his works.

Sampalataya | May 10 -31, 2025 Sampalataya Max Balatbat May 10 -31, 2025 DSC08623.JPG 1/7 View Catalogue Video Press Release In Sampalataya, Max Balatbat returns to the neighborhood that made him—a place in Caloocan where desperation was part of the daily rhythm, and yet, somehow, prayer still found its way through. This solo exhibition is an act of reckoning: with faith, with survival, with the complicated dignity of lives lived in the margins. As a child, Balatbat’s family erected a small chapel in the middle of the chaos. It was neither grand nor sanctified by institution, but it became a site of quiet congregation. Neighbors arrived not in their Sunday best, but as they were—prostitutes, gun-for-hires, laborers, mothers. Each offered a prayer: for safety, for success, for something to hold onto. It didn’t matter who they were or what they did; what mattered was the gesture—the reach toward something beyond. This early memory anchors Balatbat’s art. His works are laden with the textures of real life, not sanitized or symbolic, but stubbornly material. He uses burlap, pillow stuffing, railroad spikes, salvaged wood, used canvas, rope, tiles, cement—elements that carry their own stories of use, wear, and origin. These objects are not backdrops but active agents in his visual language, part of the patchwork that holds memory and meaning together. For Balatbat, a work must have layers and scars. It must carry weight. Recently, he immersed himself in a cenaculo—a traditional Passion play performed during Holy Week, where participants reenact the sufferings of Christ, sometimes even taking on self-flagellation. Balatbat chose not to remain a distant observer. Instead, he participated, feeling each lash, each moment of shared ritual pain. In doing so, he came to understand the deeply human impulse behind the act: to suffer as currency, to offer pain as prayer. But Sampalataya doesn’t accept faith at face value. The exhibition questions the performance of belief—what is ritual, and what is real? What is truly asked in the silence of a bowed head? Are we bargaining, pretending, hoping? Balatbat suggests that faith is not given—it is forged. Scraped together from the rubble of our brokenness, our guilt, our longing. In one corner of the show, a mechanized work swings a whip rhythmically between two suspended bags—one filled with money, the other with rice. The movement is absurd, violent, and deliberate. It gestures to the everyday pendulum of devotion and desperation: the flagellant’s pain might be for daily bread, or it might be for a payday. In either case, need drives the ritual. Here, Balatbat is at his most vulnerable. Textile patches evoke bandages, as if each artwork were an attempt to dress a wound that still bleeds. The act of making becomes a way of healing, or at least acknowledging the injury. In his raw use of materials—acrylic skin, epoxy, enamel, coffee-stained canvas—there is no pretense of purity. The works breathe with complexity, like the people who once gathered in the chapel of his childhood: imperfect, fervent, and utterly human. -Carlomar Arcangel Daoana

The Unseen Truth RC Caringal October 12 - November 24, 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 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 1/1

LIKHA | September 10 - October 01, 2022 LIKHA Eloy Muñoz September 10 - October 01, 2022 1/5 View Catalogue Video Press Release LIKHA The Art Cube presents the solo exhibition "Likha" by Vincent Eloy Muñoz. Muñoz is a self-taught Pampagueno artist who has been getting the nod for his photo-realist artworks. For the past four years, he has been working professionally, and his meticulously rendered charcoal and graphite paintings have gained him steady attention. In this solo show, Muñoz uses hands as his main idiom and dominant subject matter to express and ruminate on his ideas about creation. In Filipino, Likha means creation, which emphasizes the idea of handmade work as a means of expressing creativity and ingenuity. Also, this artist believes that hands can express a lot in life. It can suggest a range of associations and meanings such as mastery, choices, certainty, and control more than its functions usual functions of gripping, holding, and catching objects. Much of his visual style is rooted in the traditions of graphite and charcoal portraiture and his near photo-realistic pieces are his tribute to creative possibilities. His mastery is the result of sheer talent and his abiding respect and commitment to the craft. Much of his skills were developed by watching painting tutorials online and practicing in his home every day. By succinctly framing his subjects in the play of light and shadows as well as depth, he elevates them to a photographic quality that demonstrates his grit and apparent dexterity with the medium. The palpable visibility of his skills with details is undeniably obvious and we can see in his renderings that can easily animate lifelike effects and magnify dimensionality, exactitude, presence, and expression. Additionally, his themes are very accessible, and straightforward, and reverberate their distinctive beauty, simplicity, and weight, giving rise to remarkable realism with that grain of authenticity and sincerity. Such straightforwardness and optimistic impulses are perhaps because he comes from a context of organic talent and non-academic traditions in arts. His graphic interpretations do provoke a reconsideration that some artists need no formal training to stand out and still be equally compelling. According to Muñoz, he likes to be challenged all time as his work demands attention to detail. He said he is also interested to transcend in the possibility of rendering monochromatic landscapes as landscapes are mostly done in colorful and vibrant palettes. Coming from a tradition of charcoal painting, his interest dates back to when he was seven years old and his recent entry into the gallery scene is the culmination of a life-long dream. He recalls with fondness his early exposure to the arts during his visits to the malls with his mother when he was younger which was the genesis of his dream to become a professional artist. Since then, he has been practicing and learning this medium which some explain how he deftly executes his artworks with assuredness and technical maturity. He looks up to artists like Erwin Dayrit and Rafael Mañago, also fellow Pampagueno artists as well as his peers from Guhit Pinas who directly and indirectly influence his artmaking. He also does clay sculptures and designs sneakers on the side. -Philip Paraan Eloy Muñoz (b.1997) Eloy Muñoz is a self-taught Pampangueno artist, who is known for the realism of his artworks created using charcoal and graphite. Watching painting tutorials online and practicing in his home everyday, helped him hone his talent. When he was a child, he saw someone painting in a mall and he used to tell himself that he wanted to become an artist. This scenario was the beginning of his passion for his craft. Eloy also mentioned that in every work he has done he often thinks of his mantra — “Might be the last piece, give your best”. He dedicates his work to his family and his 2 year -old son. For the past 2 years, he has been working with hands as his subject and he was inspired by how hands can express a lot of things in life. For his 2nd solo exhibition Titled: LIKHA, he wanted to show the different sides of his creative mind. Aside from focusing on hands, he wanted to show life by adding different subjects to it, allowing his viewers to connect and give meaning to his works.