Sketch Marks 3 | November 9 - 30, 2024 Sketch Marks 3 Aann Reynales, Bea Gison, Edrick Daniel, Elmer Borlongan, Guenivere Decena, Honey Maglalang, Jerson Samson, Joen Sudlon, Kevin Roque, Kiko Capile, KP Rodgers, Paul Eric Roca, Plet Bolipata & Renato Barja Jr. November 9 - 30, 2024 1/8 View Catalogue Video Press Release Art Cube is proud to present Sketch Marks 3, the third iteration of what has become one of the most definitive exhibitions celebrating the art of drawing. Curated by Elmer Borlongan, who also originated the concept, this exhibition gathers a diverse roster of both emerging and established artists—including Plet Bolipata, Kevin Roque, Honey Maglalang, Kiko Capile, Paul Eric Roca, Joen Sudlon, Edrick Daniel, KR Rodgers, Renato Barja Jr., Bea Gison, Guenivere Decena, Aann Reynales, and Jerson Samson—each demonstrating the expressive range and inherent value of drawing as a medium in itself. As in previous editions, Sketch Marks 3 highlights drawing not merely as a preliminary stage for larger works but as a self-contained, vibrant universe capable of rendering the visible world with startling depth and intimacy. In these works, created using media ranging from graphite to ink to Uni Posca, lines become the vehicle to convey the varied shades, tonalities, and intensities of everyday life, human expressions, and the complex intersections of modern existence. From a contemporary take on the Biblical Eve to meditation on health and mortality to surreal interpretations of the human body to poignant “souvenirs of a terrible year,” the subjects in Sketch Marks 3 traverse a vast emotional and thematic landscape, capturing mundane luxuries and personal iconographies alike. The intimate scale of the works allows for a granular view of each artist’s process, where each pigment stroke serves as an immediate record of thought, feeling, and intention. With clarity and purpose, these drawings reveal the initial energy of an idea, its raw creative impulse. In this immediacy, Sketch Marks 3 captures the artist’s inner vision at its most intense and unfiltered—a visceral exploration of both surface and depth. As Sketch Marks 3 continues to build on Borlongan and Art Cube’s ongoing project, it provides audiences a unique glimpse into the way artists crystallize their visions on paper, sometimes even before transferring these ideas to larger canvases. In an era of growing fascination with the artist’s archive, this exhibition offers an entry point into the artist’s world—a way to witness the creative spark as it first takes shape, embodying the fire and urgency of the artistic journey. -Carlomar Arcangel Daoana

KITASABITAK Doktor Karayom May 10-31, 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 Altar Egos In KITASABITAK, Doktor Karayom steps into the literal and figurative fissures of memory, faith, and form. In what may be his most pensive exhibition yet, he turns to the image of the santo: broken, dismembered, forgotten, but never discarded. A figure once revered on pedestals is reexamined not for its divinity, but for the cracks that have come to define it. The exhibition’s title, a wordplay in Filipino, combines kita (to see) and bitak (crack). But it is no simple visual pun. The artist posits cracks as both literal and symbolic fissures—whether in sacred objects, systems of belief, or the faithful themselves. It resonates with Karayom’s meditation on sanctity, abandonment, transformation, and faith as a fragile but persistent structure, and compels us viewers to ask: What do we see in the cracks? In the fractures of plaster, clay, and cement, do we glimpse decay, transformation, or divine intervention? What once functioned as a sacred object and familial witness—the household santo—has, in Karayom’s eyes, undergone quiet mutation. Inspired by childhood recollections and a more recent encounter with an abandoned house where an old Sto. Niño sat armless and dustcovered, KITASABITAK meditates on what it means when objects of veneration are left behind. Are they orphaned or merely outdated? If saints once stood beside families in moments of grief and celebration, what does their abandonment tell us about the shifting terrain of belief? The central sculpture—an eight-foot-tall figure made of Karayom’s own blend of clay taking on the surface character of petrified stone—embodies the fragility and resilience of these saints. Armless, foot resting upon a severed head, its skin embedded with tiny cherubs, the sculpture is both an idol and an echo. Surrounding it are hundreds of red-painted sculpted hands strewn across the floor, supplicant, severed, reaching. These hands stand in for faith: lost, fractured, and renewed. Echoes of Greco-Roman mythology and anime-style regeneration emerge like Athena bursting from Zeus’ head and spirits reassembling in battle after being annihilated. And then, chaos gives way to multiplicity. Scattered on the floor: miniature human figures, each with a distinct gesture, posture, or contortion—some in headstands, others standing tall. They form an obstacle course of bodies and metaphors, inviting viewers to tread carefully. Like navigating prayer or crisis, the path is neither linear nor guaranteed. Our minds, Karayom suggests, move through mazes when we ask for answers from above. A gallery wall is populated with one-foot-tall saint-like forms, their poses suggestive of dance or possession. They blur the line between divine animation and marionette spectacle. Who moves the santo? The spirit, or the strings? As they sway between reverence and performance, we are reminded of how image merges with belief, and how belief merges with the self. Elsewhere, wall-mounted heads—each around four by five feet—feature cracked surfaces adorned with filigree, iconography, and branching lines. These decorations may be looked at as fractures, like the creases in a palm, mapping out unknown destinies and lived histories. The head becomes a site of divination. One, in particular, becomes an altar: a flesh-toned Christ figure surrounded by cherubic witnesses, mirroring the viewers who come to reflect. The final ensemble: three cement sculptures, muted in color but marked with imprints of coins. These forms resemble bulul figures, and their surfaces recall the worn depressions in folk altars where coins are placed, not only as an offering, but as an invitation for prosperity. The reference here crosses belief systems, tying pagan, Catholic, and Chinese folk traditions into a unified gesture of seeking relief from worldly needs. Doktor Karayom does not mock belief. He does not sanctify it, either. Instead, in KITASABITAK, he turns belief inside out, letting its cracks breathe and letting its fragments and components disperse. The santo is no longer just a proxy for the divine—it is a repository of longing, projection, and survival. What animates the sculpture is not holiness, but the viewer’s gaze—the hope, doubt, and grief they bring to it. And in that, perhaps, lies its miracle Kaye O’Yek 1/1

When the Smoke Clears and the Dust Settles | June 3 - 24, 2023 When the Smoke Clears and the Dust Settles Arturo Sanchez Jr. June 3 - 24, 2023 1/4 View Catalogue Video Press Release 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.

Where is Home? | January 15, 2022 - February 05,2022 Where is Home? Proceso Gelladuga January 15, 2022 - February 05,2022 1/5 View Catalogue Video Press Release SOMETHING MORE THAN JOURNEY As Filipinos seek greener pastures and opportunities abroad to provide for their families, a Negros Occidental-born contemporary artist living and working overseas longs for his native land. In his recent exhibition, Where is Home?, Proceso Gelladuga II dissects the transportability of sanctuary and living in transience. Movement and fluidity embody majority of Gelladuga’s works, as seen from his first exhibition in Boston Gallery, Flight of the Swans, in 2010, and continued with his Maleta series and Children of War dance performance in 2017. A disciple of dance since childhood, he is immersed in contemporary dance performance and choreography, which led to his career as a Hong Kong Disneyland cast member and a contemporary dance teacher, and into a fruitful personal and professional partnership with his wife and collaborator Nina. A self-taught artist, he was spurred into painting seriously in 2008 under the tutelage of Renato Habulan, though he has had decades of experience in drawing portraits and designing costumes for productions. Gelladuga’s experiences as an overseas Filipino worker informs his visual arts practice immensely. Moreso during the Coronavirus pandemic, the artist became a living, breathing definition of Filipino flexibility, as he had to add Zoom lessons to supplement his income during park closures. This also afforded him the time and quiet space to ruminate deeply about the global disaster and its effect on children caught in crisis, as head of a migrant family living abroad with a young daughter, and as a painter whose works anchor themselves on faithful renditions of physicality and agility in motion. With pieces resembling choreographies transferred into canvas, Gelladuga presents new paintings in Where is Home? with figures first imagined in Crossing Borders, a dance video choreographed and directed by the artist and his wife with the help of their dancer and videographer friends, shot and documented in 2019. Shifting bodies frozen as references make up most of the compositions that portray survival, strength, intimacy, grace and hope. Added to this are inspiration from the poignant words by British Somalian poet, Warsan Shire about mutable shelter brought about by adversity, Home, which reads in part: and no one would leave home unless home chased you to the shore unless home told you to quicken your legs leave your clothes behind crawl through the desert wade through the oceans drown save be hunger beg forget pride your survival is more important Survival is indeed of utmost importance, as man sees himself in a battle against the elements, in this case, the turbulent waters of the sea, and dark, looming clouds overhead. Dreamers Float portrays three figures in bright yellow life vests, perhaps psyching themselves for sustained endurance while waiting for rescue, refusing to be burdened by their traumatic pasts. Father and Child shows a man cradling his daughter protectively, going against the more commonly pictured mother and child motif popular throughout art history yet still providing notions of comfort and nurturance. My Strength and My Refuge, two pieces with seemingly similar compositions, show where an individual draws courage and fortitude in times of great hardship– with personal power buttressed by the support of intimate relationships and inspiration not only for the self to survive, but sustain a life of dignity with loved ones. Adrift references Gelladuga’s past Maleta series, with a suitcase resembling the weather-beaten safety colors of SOLAS-regulated liferafts pushed into shore by waves. Graphite on paper works continue Gelladuga’s depiction of water-drenched bodies in Refuge 1 and 2 immortalizing poses that underscore an end to the struggle, life guaranteed continued existence. Gelladuga’s Where is Home? asks viewers directly where they themselves retreat for sanctuary, and shows that home does not instantly translate to a roof over one’s head. Shelter is where one finds rest and subsistence, preferably in the company of family and friends, but home is often where, as they say, one’s heart is, regardless of country or international borders that welcomes refugees of all races. The artist’s treatment of water as means of washing away the dust and sweat smelling of the earth of one’s homeland, transporter of bodies and futures to foreign shores, and holder of consciousness and aspirations as one manages to remain afloat is carried by waves, splashes, and drips, with masterful brushstrokes drenching his pieces in longing and promise in equal measure. - Kaye O’Yek

A Field Guide to Navigation Eri Abe 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 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 1/1

This is Not a Chair Jowee Aguinaldo September 6 - 27, 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 Don’t Take Your Seat In Jowee Aguinaldo’s first solo exhibition, the artist takes an ordinary piece of furniture, a chair, and turns it into a restless metaphor for the everyday struggles that shape our lives. This Is Not a Chair asks us to look closer at what we take for granted, to see how a familiar object can carry stories of power, absence, burden, and survival. Images of monobloc chairs, common in Filipino households, appear in varying iterations: stacked, carried, used as armor, boxed, and strewn with yellow police tape. Each depiction adds meaning, taking us deeper into this hardy object whose very material might outlast human lives. In Never Ending Trip to Jerusalem, the childhood game of musical chairs is reimagined as a grim cycle. The players run in circles, chasing seats that never quite belong to them. The image, in all its soft-brushed detail, hardens into a portrait of inequality. Figures run themselves dry to the point of exhaustion while systems keep the rewards out of reach. As the artist cuttingly states, “only when their hearts stop does the music end.” Other works ground these ideas more intimately. In Mahabag sa Hapag and Saan Ako Lulugar, chairs transform into tables and fragile shelters hand-carried restlessly into varying positions. They stand in for labor that feeds others but rarely sustains the worker, or for housing that demands endless adjustment without ever offering rest. Chair/Man is pure satire: a chair draped with clothes that sketch the outline of a leader, yet no actual body fills the seat. This is authority as costume, not service, with no tangible substance or hope for sustenance. The sharpness continues in BAHAla Kayo Dyan, aiming at current issues concerning anomalies in flood control projects. Floods rise not only as natural disasters but as symbols of corruption, drowning infrastructure, private property, and people alike. Citizens are left to fend for themselves while officials pocket funds, offering clownled spectacles instead of solutions. In Patas sa Gapas, the divide between landowners and farmers is laid bare. Side-by-side comparisons of one figure enjoying abundance and towering profits, and others enduring precarity, dangerously sharing the limited space and barely allowed to stand. And in Weight of Stillness, expression itself seems boxed in, showing how silence can be imposed even in a society full of noise. The smaller canvases of the This Is Not a Chair series distill these ideas into sharp fragments: exclusion disguised as inclusion, war cutting lives short, the weight of constraint on LGBTQ+ identities, and the quiet but forceful presence of absence itself. Aguinaldo’s oil paintings are carefully built through blending, glazing, and layering, but what makes them resonate is less about technique than urgency. The artist paints with the eye of an astute storyteller and the conviction of someone who knows these issues firsthand. In the end, this exhibition truly is not even about chairs at all. It is about who gets to sit, who is left standing, and who is never even invited to the table. Aguinaldo asks us not to look away but to face these questions head-on, and to recognize that the simplest forms around us often carry the heaviest truths. '- Kaye O’Yek Jowee Anne Aguinaldo Her work addresses social issues, identity, and community through vivid figurative compositions. In 2023, she won the Grand Award in the Oil/Acrylic on Canvas category at the Metrobank Art & Design Excellence Awards for Puro Kahig, Walang Matuka, a piece that highlights the plight of Filipino farmers. More recently, she also won first place at Sining Filipina: Her Earth, Her Future for her painting Pinagtapi-tapi, which reflects sustainability and collective effort. Her works combine strong narrative, symbolism, and an urgent voice rooted in everyday experiences. 1/1

Yesterday's Future | August 13 - September 03, 2022 Yesterday's Future Group Show August 13 - September 03, 2022 1/8 View Catalogue Video Press Release Yesterday's Future Growing old is unavoidable, but never growing up is possible. I believe you can retain certain things from your childhood if you protect them — certain traits, certain places where you don’t let the world go.” — Martin Luther King, Jr. Themes about the past, especially that of childhood and coming of age, do present an unmistakable and irresistible allure. In almost everywhere, there exist an unashamed culture of nostalgia in the younger years and relentless confrontation with the grips of forgetting. We embrace fragments of our youth with such fascination and enthralling universality and interest. The same existentialist sense binds together this show. These artists turn to their childhood memories of playful past and fragments of their real and imagined younger selves while contemplating on the present and the future. Moreover, childhood is a foundational stage of our humanity invariably is a stage of revelation. It is often made of exciting epiphanies and games of imagination and itis that delicate moment where we mold what we want to be. It is that time when we nurture and cultivate our dreams and possibilities through our plays and childhood acts of make-believe. In the absence of readymade toys, mundane objects are transformed into sophisticated crafts, and ordinary spaces become realms and limitless terrains of what we can imagine and where our imagined rules only mattered. With images suggesting and playing on the tropes and symbolic grammar of toys and games, these artists textualize each artwork with interpretations and remembrances of their own and the collective feelings of childhood and their nascent years. This show brings to mind what British critic and essayist once said, “the true object of all human life is play.” -Philip Paraan

Sketch Marks 2 | December 03 - December 27, 2022 Sketch Marks 2 ROBERT BESANA | ELMER BORLONGAN | SALVADOR CHING LOUIE CORDERO | LOURD DE VEYRA | ORLAND ESPINOSA KATARINA ESTRADA | MARTIN HONASAN | JAYME LUCAS CHAD MONTERO | HANNAH NANTES | GABI NAZARENO JAIME PACENA II | DEXTER SY | MICHAEL VILLAGANTE December 03 - December 27, 2022 1/6 View Catalogue Video Press Release Drawing is often associated as one of the easiest art forms. After all, one only needs a pen and a piece of paper. However, contrary to belief, drawing may be one of the most expressive and complex forms there is. When one removes the different components of an art piece, what remains is the basic drawing of figure and object; the rawest and purest rendering of what the artist sees. As instinct, sketches were first created during the paleolithic age. Our prehistoric ancestors used rocks and cave walls to depict their everyday life. Since then, artists all over the world and at different points in time, have been known to use sketches and drawings. From the Egyptians who covered their tombs with linear art, to the Old Masters in Europe, all the way to the present day. In the 30,000 year old history of art, drawing and sketching has been a foundation and a necessity. Sketch Marks 2 is a celebration of the history, the beauty, and the diversity of drawings and works on paper. From works by Robert Besana, Elmer Borlongan, Salvador Ching, Louie Cordero, Orland Espinosa, Katarina Estrada, Martin Honasan, Jayme Lucas, Chad Montero, Hannah Nantes, Gabi Nazareno, Jaime Pacena II, Lourd de Veyra, Dexter Sy and Michael Villagante this group show embodies the limitless possibilities of an artist with pen and paper as medium. In this show, watch how these artists use drawing to create new images, expand meaning, and challenge what we think we know about drawing. The works shown in this exhibit do not stand alone, but instead, carry with it the story of drawing and of art. Just as Giorgio Vasari believed, “drawing is the necessary beginning of everything [in Art], and not having it, one has nothing.” -Margarita Bolipata Santos

Ghosts Don Bryan Bunag 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 Mga Mumunting Multo Mga Mumunting Multo (ayon sa eksibisyong “Ghosts” ni Don Bryan Bunag) Dito ko itutungkod Ang kamalayan Kung saan naghahati Ang langit at kapatagan. Matagal nang patay Ang lungsod: Sisilong muna Sa salakot ng ulap At doon tatanawin Ang hangganan Ng buhay At uniberso. Maski sa pusikit Na dilim, May sigalot Ang mga bituin. Saan ba Nananahan Ang Diyos Na nakatikom ang bibig? Pinapaluhod Ng hangin Ang mga ligaw Na damo Habang ako Ay nakatanghod Sa kalawakang Sinusulsihan ng abo. Carlomar Arcangel Daoana Don Bryan Bunag Don Bryan Bunag's works explore the concept of visualizing an internal landscape— an imagination of what his mind would look like if it were a place—as a representation of his state of mind. For Bunag's upcoming exhibit, entitled Ghosts, he was trying to find a personal definition of a ghost. Since 2018, he has always gravitated toward using this word as the central idea of a specific show. But as someone who likes to plan, he did not rush it until he felt that his work and himself were aligned and ready to justify what he envisioned. In his 8th solo exhibition, he intended to keep the works untitled. Giving an artwork a title might box it in terms of interpretation. Throughout his practice, he has always been combining traditional and modern methods in his art-making process, finding the balance between raw expression and deliberately implying a message, depicting simplicity yet suggesting complexity. 1/1

Framed Ciane Xavier Janury 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 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. 1/1

Guhit sa Tubig Yas Sehob March 15 - April 5, 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 Painting Ripples, Streams, and Runoff Water remembers. It carves and erases, holding memory in its depths while washing it away with the next tide. Yasmin Sehob knows this intimately. In her first solo exhibition, Guhit sa Tubig, she dives headfirst into a paradox: recreating what was lost—childhood photographs devoured by the floodwaters of Ondoy—while embracing the impossibility of ever truly recovering them. Sehob paints as though sifting through time itself, chasing ghosts printed on Kodak paper, snapshots of the late '90s and early 2000s that have dissolved into nothing but flickers of memory. Oil paint, with its seductive depth and viscosity, becomes her instrument of excavation. She wields it with both precision and surrender, layering and dissolving, pushing pigment into the surface only to blur it out with gamsol and linseed oil. The result? Images that waver like reflections in water—ephemeral, distorted, heartbreakingly familiar, yet forever out of reach. The colors strain to recall the past, struggling against the artist’s own uncertainty. What was the exact shade of that bathing suit? The hue of the afternoon light? The tension between remembering and reconstructing becomes the work itself. Memory is unreliable, and Sehob leans into that instability. She starts with sketches—immediate, raw recollections—before consulting with her siblings, mining their minds for corroboration. But what happens when their memories don’t align? Does one version of the past become more valid than the other? This negotiation plays out on canvas: paintings mutate, details shift, nostalgia buckles under the weight of reality. By the time a piece is complete, it is no longer a document of the past but a specter of it—history refracted through longing. Sehob, a self-described nomad in style and discipline, operates in the liminal space between the figurative and the abstract, treating oil paint with the fluidity of watercolor as though willing it to seep into the cracks of time itself. Much like her journey as an artist, her process is non-linear, driven less by output than by experience. She has always made art—first as a child enthralled by her late mother’s quick portrait sketches, later while drawing, mathing, and dancing at Makiling, and then as an Economics student who painted in the margins of academia. Art was never just a career path; it was—and remains—a way of metabolizing the world. Guhit sa Tubig is about loss, but it is also about impermanence—how even grief, even absence, can be temporary. These paintings are not just recreations; they are resurrections, fleeting yet indelible. They remind us that memory, like water, is forever slipping through our fingers, and yet, somehow, it always leaves its trace. Kaye O’Yek 1/1

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