Guhit sa Tubig | March 15 - April 5, 2025 Guhit sa Tubig Yas Sehob March 15 - April 5, 2025 1/6 View Catalogue Video Press Release 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

The Expansive Window Albert Sevilla, Alee Garibay, Amy Aragon, Anthony Palomo, Arley Carig, Azor Pazcoguin, Bam Garibay, Cedrick Dela Paz, Chad Montero, Delmo, Demosthenes Campos, Doktor Karayom, Don Bryan Bunag, Eri Abe, Ferdie Montemayor, Ian Inoy, Ikang Gonzales, Isko Andrade, Japs Antido, Jason Delgado, Jay Ticar, Jayme Lucas, Jep Dizon, Jett Osian, Jim Orencio, Jirah Labanza, Joen Sudlon, Joey Cobcobo, Jojo Austria, Joven Mansit, Jowee Aguinaldo, Joy Mallari, Julianne Ng, Julius Redillas, Katrina Cuenca, Kim Gaceja, Kim Hamilton, Lui Gonzales, Lui Manaig, Lymuel Bautista, Maribel Magpoc, Mark Andy Garcia, Mark Justinani, Mark Laza, Martin Honasan, Marvin Quizon, Max Balatbat, Narra Marin, Nica Acantilado, Nina Garibay, Noel Elicana, Norlie Meimban, Orley Ypon, Otto Neri, Paolo Icasas, PJ Cabanalan, Rafael La Madrid, Raffy T. Napay, RC Caringal, Renato Habulan, Renz Baluyot, Rey Labarento, Reynold Dela Cruz, Ryan Jara 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 Expansive Window As the year draws to a close, Art Cube presents a cherished annual tradition: the year-end exhibition, this time titled, The Expansive Window. This showcase gathers the creative brilliance of emerging, mid-career, and established artists, united by their devotion to painting—the country’s most enduring and dominant artistic medium. Occupying all spaces of the gallery, The Expansive Window highlights the rich and multifaceted tradition of painting in the Philippines. For centuries, painting has been a vessel of expression, evolving with the times while retaining its vital connection to history. This exhibition offers a glimpse into this dynamic continuum, presenting a spectrum of stylistic approaches that span Pop Surrealism, Realism, and Abstraction. Each work testifies to the versatility and vitality of painting as an art form. The thematic concerns of the exhibition are equally diverse. Visitors may encounter genre themes such as still life, landscape, and portraiture, alongside deeply personal autobiographical reflections and poignant engagements with pressing social issues. This broad thematic range mirrors the pluralistic nature of contemporary Philippine art, where tradition and innovation coexist in harmony. The title, The Expansive Window, encapsulates the exhibition’s essence. Like a window offering a breathtaking view, this show provides an opportunity to observe the current state of Philippine contemporary art while imagining its future trajectories and possibilities. It serves as a celebration of the artistic vision that shapes and redefines our understanding of the world. Beyond its role as an artistic showcase, this year-end exhibition represents a heartfelt expression of gratitude. To the artists who have entrusted us with their works, to the collectors who have nurtured the art, and to the audience who has continued to engage and support us through the years—Art Cube extends its deepest thanks. Their unwavering belief in the power of art continues to inspire the exploration of new vistas of creativity and expression. '-Carlomar Arcangel Daoana 1/1

Object's Nature, Nature's Object Jep Dizon June 7 - 28, 2025 Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image 1/12 In Object’s Nature, Nature’s Object, Jep Dizon turns to the still life as a formal exercise in balance and beauty, as well as a psychic chamber where the rawness of nature and the artifacts of human thought collide. A flower poised in a wine cup, a marble bust stilled in contemplation, a crow perched, a snail inching forward, a book closed like a breath held—these images, calmly arrayed, hum with symbolic charge. They are not still, but vibrating with the aftershocks of living. Each object is a cipher. The marble bust, with its sculpted serenity, stands for the constructed self—reasoned, idealized, yet ultimately breakable. The flower in a wine cup evokes fleeting pleasures, the mingling of beauty and decadence, rooted in fragility. The snail, ever slow, becomes a metaphor for deliberate becoming, for growth that resists haste. The crow, a witness and harbinger, carries the dual omen of death and insight. The book, of course, is the vessel of knowledge—open, incomplete, always waiting for the reader to arrive. But what Dizon renders is not just an arrangement of objects; it is the architecture of a life. These objects chronicle the arc of being: emergence, learning, desire, decay. Through them, he paints a portrait not of a single individual but of our shared inheritance. For beneath the wrappings of class, culture, or geography, we each endure the same cycles. We reach, we gather, we lose. We make meaning from what surrounds us. Set against surreal skyscapes—clouds coiling like vaporous thoughts, light dilating in unexpected hues—Dizon’s tableaux meditate on the porous boundary between mind and matter. Time is palpable, almost liquid, folding in on itself as symbols of mortality (a cut flower in a clear bottle, its bloom already waning) quietly confront us. Yet rather than sink into despair, the works pulse with a kind of sacred aliveness. For Dizon, existence is nourishment. As he states, our experiences are “food for our consciousness andsoul.” What emerges is not a lament but an affirmation: that the world around us is not other, but of us. In recognizing the nature of objects and the objecthood of nature, Dizon gestures toward a more intimate cosmology—where self and environment are entwined, reflections of the same opulent design. Object’s Nature, Nature’s Object is, ultimately, a still life not of things, but of being. '-Carlomar Arcangel Daoana 1/1

Skybound | January 11 - February 1, 2025 Skybound Mac-J Turla January 11 - February 1, 2025 1/6 View Catalogue Video Press Release In his fifth solo exhibition, Skybound, Mac-J Turla invites us into a world where daydreaming reigns supreme—a realm of unfettered imagination and creative exploration. Through a series of evocative works, Turla celebrates the gentle, unstructured moments that allow the mind to wander and ideas to take flight, particularly within the context of the artistic process. In an era dominated by the relentless churn of social media, where every spare moment is filled with digital noise, Skybound serves as a reminder of the value of stillness and introspection. Some of the most profound ideas, after all, emerge not in the frenzy of activity but in the quiet intervals of boredom—when we sit back, relax, and let our thoughts meander freely. At the heart of the exhibition is a recurring protagonist—a stand-in for the artist himself. This central figure, with wide, expressive eyes and occasionally equipped with robotic arms, is depicted as wholly engrossed in an interior world. Hovering above him are whimsical visual elements that dramatize the act of imagination: a flight of birds, a galloping horse as one would see on a racetrack, and a toy airplane in mid-soar. These motifs transform the mundane into the fantastical, echoing the unbridled creativity of childhood. Turla’s works harken back to simpler days, when children would doodle on the back pages of their notebooks, their minds unencumbered by the weight of adult responsibilities. The same spirit of uninhibited creativity pervades these paintings. Notably, each work bears a title corresponding to a specific hour—the moment when the artist’s visions took shape—turning the series into a visual diary. These temporal anchors lend an intimate, almost confessional quality to the collection, grounding its flights of fancy in real-world moments of inspiration. Without a rigid plan or predetermined outcome, Turla allows his images to emerge organically, embodying the metaphor of flight both literally and figuratively. The resulting works exude a sense of spontaneity and lightness, capturing the essence of childlike wonder. With its themes of freedom, aspiration, and serenity, Skybound is an ode to the creative spirit—a testament to the power of unstructured moments to awaken our deepest imaginings. -Carlomar Arcangel Daoana

On the Ground, Across the Shadow Jep Dizon March 9 - 30, 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 On the Ground, Across the Shadow Art Cube is delighted to unveil the eighth solo exhibition of Jep Dizon, aptly titled On the Ground, Across the Shadow. This showcase presents a collection of contemporary tableaus reminiscent of classical still life, pushing the boundaries of conventional representation. Dizon employs recognizable materials such as hollow blocks, iconic Dr. Martens' shoes, and a myriad of other objects, turning these seemingly mundane items into powerful vessels of meaning. Dizon’s works transcend the mere depiction of surfaces, delving into the realms of interior worlds and symbolic phenomena. In the tradition of classical still lifes, the artist uses these everyday objects as a lens to examine human life and mortality. The choice of materials becomes a metaphor for the transient nature of existence, inviting viewers to contemplate the significance embedded in the ordinary. Central to Dizon's exploration are figures shrouded in his signature sheer green cloth, casting an enigmatic aura over the compositions. This recurring motif introduces an element of mystery and anonymity, suggesting the artist’s fascination with the impossibility of fully revealing oneself to others. The lustrous fabric becomes a visual metaphor, hinting at the complex layers that cloak our inner selves. Through the surreal juxtaposition of objects, Dizon’s works echo the philosophical and visual richness reminiscent of surrealist master René Magritte. Objects are imbued with new meanings through their placement, inviting viewers to decipher the intricate connections and narratives that unfold within each frame. The exhibition becomes a journey into the artist’s psyche, where reality and imagination intersect. Dizon illuminates how an artist is, above all, an observer of life and its conditions, navigating the delicate balance between light and dark. His compositional process is a unique blend of artistic intuition and methodical organization, as he utilizes photography to arrange disparate objects before translating them onto canvas. Dizon captures the essence of his creative process in his own words: "I enjoy the process of playing with objects using photography before executing the work on canvas. I want to expand my style to create not only figures but to paint landscapes, still lifes, or objects that somehow mirror myself. It’s me across every shadow of my work.” On the Ground, Across the Shadow is an invitation to explore the intricate tapestry of human existence, where the ordinary transforms into the extraordinary, and each brushstroke reveals a facet of the artist’s introspective journey. Jep Dizon’s solo exhibition testifies to the transformative power of art, where the observer is invited to peel back the layers of reality and embark on a visual and philosophical odyssey. Carlomar Arcangel Daoana 1/1

BANAAG | July 16, 2022 - August 06, 2022 BANAAG MICHAEL VILLAGANTE July 16, 2022 - August 06, 2022 1/6 View Catalogue Video Press Release Hope is a Verb On that fateful day in October last year, as Michael Villagante was about to embark on the XIII Florence Biennale, for some strange prophetic reason, he spontaneously wrote the word padayon (Hiligaynon for Continue the Struggle) in bold black ink on the tube bearing the rolled Pagtahan on canvas he was to hand-carry on a long flight to Florence. His inspiring message confidently armed him connoting to overcome further difficulties that constantly challenged his journey to this Italian city famous for its Renaissance art, architecture, and monuments. The XIII Florence Biennale may be the youngest of all international art competitions yet it has attracted the most participation of more than a thousand artworks by 500 artists coming from 85 countries in five continents worldwide. The Florence Biennale has served as a worthwhile platform both for emerging and established contemporary artists. Villagante would receive the Lorenzo Il Magnifico Award, the highest award, and the only Filipino to do so. Banaag. is Villagante’s third exhibition at the Art Cube Gallery. chronicles the framed prequel scenarios leading up to Pagtahan as Villagante creatively forays the padayon spirit that beamed and won for him in Florence. Sugat well-summarizes the two-year quagmire plagued by the coronavirus as represented by ox and tiger. Caught in an allegorical tug-of-war while sitting against a crown of thorns piercing their mortal beings, a butterfly emerges from its own hopeful metamorphosis of change in how we live in the world. Villagante is a visual poet extremely capable of the surreal and sublime. His personal palette of Naples yellow and red. raw sienna, burnt umber remains effective in complimenting his imagery and owning a bespoke iconography only Villagante can come up with. Adding sordid mystery to his subjects, typical in Villagante he often does not reveal them in their naked bodies often covering their faces with masks. His work Dalawang Libo’t Dalawampu signals the year of the rat, the year that people were faced with the struggle of the pandemic. Takip Mata is crawling in the darkness of uncertainty. Causing intense anxiety, our blind faith acceptance of the worsening situation marked by the increasing number of coronavirus cases—checked our reality– some included our friends and family members. The skull is a fixture in a Villagante piece. First to appear in his winning piece Sagad Hanggang Buto for MADE in 2012 it emanates the beauty of impermanence. Notice the lacking letters u and a culled from the word bulag it refers as you and ako—reminder that you and I have a responsibility to one another. The skull again makes a reprisal in the boob tube in Error as it emphasizes the trial and error scheme the DOH reported on a daily basis—a sure sign of incompetency on the government. With a deteriorating house slowly falling apart on one’s head, Lamat zeroes in on the slow degradation of the negative effects of staying at home. Due to the pandemic, many lost their jobs causing rifts with their families, and the students were alienated and could not cope with their online learning. Even Villagante was not spared, as he had to undergo a near-death medical operation causing him a plunge in his self-esteem and a lagging art career, he was supported and helped by his wife who discovered baking cakes and sold them to neighbors to survive day by day. Meanwhile, the positive side of being home can be seen in Ligtas as we are all safe in the comforts of our homes. We can also quarantine and be spared from the high cost of hospitalization while recovering in our own safe spaces. The lotus flower has been Villagante’s sure sign of hope. Despite it being dirty, the flower exudes fragrance as it floats. Here it is encased in glass. Notice the note on the chest ikaw tayo ako represents the missing letters in the word ligtas. An in-your-face warning that unless we pull our act together we will not be saved. Munting Kalayaam was the momentary respite when the lockdown eased a bit. A heart with wings connoted partial freedom that eased our fear of the unknown we were all feeling. Being a Born Again Christian, it was faith that kept life going for Villagante. In Lilim he honors the Lord and how his life was moved. Considering Villagante’s preference for yellow-green mossy hues, he abhors the glossy and showy. Using a dry brush he achieves that dark and matted finish. He does not use linseed to evoke a pastel-like texture. Laro Tayo signals temporary freedom as the coronavirus is dwindling and the kids can finally play outside. Using his son’s rocking horse to exhibit the second chance we long for, Villagante holds the promise of a better tomorrow in his children whose future we merely borrow. In the vernacular, Pagtahan means to be relieved after crying; that everything will be fine after. Despite what appears to be a prevalent mood of gloom, the theme of Pagtahan speaks of collective desperation for hope amidst the ongoing pandemic—in the context of the various gruesome wars--we have been constantly faced with for two years now. These battles according to Villagante unravel on many fronts, be it personal as well as social, and are of manifold presence as he has meticulously painted the many layers using his signature four-color-palette of yellow ochre, cerulean blue, burnt amber, and Naples yellow red. An alarming issue that has affected Villagante is climate change and to better describe the ongoing conflict of the environment the fierce eye-to-eye match-up in the form of a growling lion and scathing wolf at center stage War is further enhanced by a mushroom cloud in the middle, reminiscent of the Hiroshima bombing of the Second World War. One can even witness bombs growing on trees like lanterns, an allegory that violence is easier catapulted than one can avoid. This image is an inspiration from an early Rodel Tapaya’s iconography. Five continents are represented by five naked bodies occupying the lead role on the canvas with Asia taking the lead. To further contextualize the painting, the eruption of Taal is partly seen looming in the background as a precursor to the coronavirus pandemic that enveloped all of us last year. Four frontliners dons in PPEs are walking on a tightrope to eschew the criticality of the situation and the inherent seriousness of their vocation. Despite the prevalent grimness of the picture, Villagante espouses the message of faith as seen in the presence of a guiding angel and even witnessed by his wife and youngest son being reared in the middle of the canvas. In Banaag, evident in ten paintings, is how Villagante has staked the impending mortality of our lives and through his art how to find that there is always light at the end of the tunnel. - Jay Bautista Michael Villagante Michael Garcia Villagante is a Filipino visual artist who was born in Masbate and grew up in Maypajo Caloocan. He received his Bachelor's Degree in Fine Arts from the University of the East in 2001. He has joined and won various local competitions in the Philippines such as Shell National Art Competition - 3rd Honorable Mention (1997) and a Grand Prize at the Metrobank Arts and Design Excellence (2012). In 202, Villagante joined the XIIIth (13th) edition of the Florence Biennale in Florence, Italy. It is a major contemporary art and design exhibition in Florence and one of the world’s leading contemporary art exhibitions. He was the first Filipino who won First Place (Gold) for the Lorenzo il Magnifico Award for Painting. His winning piece “Pagtahan” (Cessation of crying) was able to manifest the concept of the competition which is “Eternal Feminine | Eternal Change” and was able to surpass over 1,000 artworks from different countries.

Sinuous Architecture and Evocative Forms Ramon Orlina Art Fair Philippines 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 Sinuous Architecture and Evocative Forms features the new works by Ramon Orlina, the Philippines’ preeminent glass sculptor. Marking the celebration of Orlina’s 80th birth anniversary, this exhibition organized by Art Cube puts a spotlight on the artist’s seamless blend of architectural and figurative finesse and the delicate beauty of glass. Offering a veritable glimpse into a wide range of Orlina’s stylistic preoccupations—from genre themes such as mother-and-child and graceful nudes to abstract rhapsodies of geometric and curvilinear forms—the exhibition exemplifies the artist’s remarkable ability to evoke a harmonious balance between straight lines and graceful curves, as well as the interplay between solidity and ethereal transparency. With an acute eye for detail, Orlina’s sculptures evoke the sense of witnessing beauty distilled in his chosen medium. Each piece stands as a testament to the artist’s prowess in capturing the essence of fluidity within the static nature of glass, particularly exemplified by his inspired interpretations of the human body. Audiences will likewise be captivated by Orlina’s exceptional talent in transforming glass into mesmerizing works of art that effortlessly bridge two seemingly disparate worlds: art and architecture. Not too many people know that the artist is also a licensed architect, who fuses the elegance of his chosen medium with architecture’s emphasis on structural integrity. Orlina’s choice of glass as a medium—in his signature emerald green as well as in varying gem-like tones—allows the master to play with translucency, even the illusion of softness and movement. His every sculpture doesn’t have a back and a front: each can be appreciated in a multiplicity of vantage points, inviting the viewer to move around it and experience seeing how the work interacts with light. The exhibition holds profound significance within contemporary Philippine art, offering a compelling showcase of a master artist who remains at the pinnacle of his creative prowess. Never complacent and always pushing the envelope of his artistry, Orlina epitomizes his belief that an artist worth their salt doesn’t have the word “retirement” in their vocabulary. Sinuous Architecture and Evocative Forms celebrates the legacy of a visionary artist and reaffirms the significance of art as an essential conduit for exploring the beauty of human aspiration. Ramon Orlina’s masterful works serve as beacons of light for current and future generations, urging them to push the boundaries of medium, scale, and the limits of artistic expression. Carlomar Arcangel Daoana Ramon Orlina Ramon G. Orlina, a licensed architect, graduated with a Bachelor of Science in Architecture from the University of Santo Tomas College of Architecture & Fine Arts in 1965. After gaining four years of experience at C.D. Arguelles and Associates, he founded Ramon Orlina and Associates, specializing in architectural works and project administration. Orlina is also a distinguished member of the College of Fellows of the Philippine Institute of Architects. In 1975, he held a solo painting exhibition on glass at the Hyatt Gallery in Hyatt Hotel, pioneering the use of glass as an artistic medium in sculpture by 1976. Since then, he transitioned full-time to the arts, exhibiting extensively in the Philippines and globally. Orlina boasts numerous awards, including the ASEAN Awards for Visual Arts in 1993, Third ASEAN Achievements Awards for Visual Arts in 1994, and The Outstanding Filipino (TOFIL) Award in 2006. The Philippine Institute of Architects honored him with the Gold Medal of Merit Award in 2012, and he received the 2014 People of the Year Award by Stargate PeopleAsia. President Rodrigo Roa Duterte recognized his contributions with the prestigious Presidential Medal of Merit in November 2021. In 2022, he received the Gat Andres Bonifacio Award, the highest recognition for a Manileño. Orlina's commitment to heritage conservation earned him The Philippine Heritage Award, and his environmental efforts were acknowledged with The Green Gala Award in the previous year. Internationally, he secured the "Mr. F" prize at the 1999 Toyamura International Sculpture Biennale and won the First Prize in the Sculpture Category of the II Bienale International del Baloncesto en las Bellas Artes 2000 in Madrid, Spain. His glass masterpieces place him among global art luminaries, such as Dale Chihuly of the US and Bertil Vallien of Sweden. Notable among his outdoor works is "QuattroMondial," a 10.32 meters high, cast bronze and glass sculpture unveiled at the University of Santo Tomas in January 2011. Orlina's name is synonymous with glass sculpture in the Philippines, and he further solidified his legacy by establishing Museo Orlina in Tagaytay City, Cavite, in December 2013. Celebrating its tenth year, Orlina envisions expanding the museum to include a new wing for showcasing his collection of masterfully painted art cars. 1/1

Drop Off Point Demet July 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 Jaw-Dropping Perseverance The working class of courier-riders is the latest inspiration behind Demet Dela Cruz’s “Drop Off Point.” The artist believes that a courier-rider’s daily work is emblematic of the perseverance, improvisation, and hard work of the Pinoy. A lot of people can relate to this, especially Filipinos who are known for demonstrating an ability to make good use of what is available by maximizing whatever is at hand. The Pinoy usually accepts the reality of having limited resources and adapts accordingly. Consciously focusing on the here and now of his immediate surroundings, Dela Cruz draws parallels between an artist and a courier-rider through the lens of their admirable diligence and hard work. “For instance,” he points out, “it is amazing to see the rider’s use of a packaging tape to secure a haystack of goods or parcels on a modest motorcycle.” He analogizes gleefully that inasmuch as the rider’s parcel has a drop-off point or destination, so is the artist’s artwork or art for that matter. This artist-rider parallelism reminds us of the French painter Edgar Degas (1834-1917) who is said to have evoked (if not avowed) in his laundress series of paintings that art is not only about an aesthetic act but also a physical act that requires patience or labor akin to that of a laundress—or in Dela Cruz’s case, a rider-courier. Let us have a quick look at the kind of laborious task involved in this case: Whenever Dela Cruz makes a new series of shaped panels as supports for his paintings, such as the ones in this exhibition, he would normally start by carefully adjoining pieces of large plywood into seamless continuity, their back reinforced with bars, and other stuff. The next step in this labor is to meticulously cut these thick panels into certain contours dictated by the final compositions he has previously and diligently worked out on his desktop computer. After this stage, the shaped supports would be treated with protective barrier to cut down their absorbency a little bit in preparation for the primer as well. The drawing of the entire composition comes next. And finally, the multiple layers of oil paint are applied, with enough drying intervals between each application to ensure each layer is at least dry to the touch, in order to achieve a certain level of richness that is definitely essential for a sufficient simulacrum of reality. The timely incorporation of the ubiquitous QR code onto Dela Cruz’s latest artworks is also worth mentioning. This is not an approximated QR code-like configuration added merely as a visual motif/element but rather as a valid, scan-functional, interactive one. This is the artist’s invitation for his audience to go ahead and scan these QR codes as a democratizing gesture that art is for everyone. Dela Cruz says, “Even though not everyone can own the paintings, anyone can somehow take them home, so to speak, go deeper about what the paintings are all about, share them with their families and friends via these QR codes.” Artists are so inclined to continue to create in order to have something enriching to share with the whole world, in physical form or otherwise, including the promise of interactive media such as the technology of QR code and the internet. We have heard that sometimes it is helpful to exaggerate things in order to make a point. As the saying famously described in Matthew 19:24 suggests: “It is easier for a camel to go through the eye of a needle than for a rich person to enter the kingdom of God.” Case in point is the artist’s crucial decision to relinquish the presence of a rider/deliverer, thus enabling us to focus instead on this overwhelming plethora of explicitly religious objects as vehicles of faith and not just mere cargos on outsized motorcycles. And even though it could be practical to view the captured subjects as a kind of bookends of a journey, Demet Dela Cruz, nevertheless, seems to have steered clear of any hint of motion, as if to evoke a narrative of stillness that causes us to contemplate the unchanging nature of the Divine. Benjo Elayda 1/1

Drop Off Point | July 5, 2025 Drop Off Point Demet July 5, 2025 1/5 View Catalogue Video Press Release Jaw-Dropping Perseverance The working class of courier-riders is the latest inspiration behind Demet Dela Cruz’s “Drop Off Point.” The artist believes that a courier-rider’s daily work is emblematic of the perseverance, improvisation, and hard work of the Pinoy. A lot of people can relate to this, especially Filipinos who are known for demonstrating an ability to make good use of what is available by maximizing whatever is at hand. The Pinoy usually accepts the reality of having limited resources and adapts accordingly. Consciously focusing on the here and now of his immediate surroundings, Dela Cruz draws parallels between an artist and a courier-rider through the lens of their admirable diligence and hard work. “For instance,” he points out, “it is amazing to see the rider’s use of a packaging tape to secure a haystack of goods or parcels on a modest motorcycle.” He analogizes gleefully that inasmuch as the rider’s parcel has a drop-off point or destination, so is the artist’s artwork or art for that matter. This artist-rider parallelism reminds us of the French painter Edgar Degas (1834-1917) who is said to have evoked (if not avowed) in his laundress series of paintings that art is not only about an aesthetic act but also a physical act that requires patience or labor akin to that of a laundress—or in Dela Cruz’s case, a rider-courier. Let us have a quick look at the kind of laborious task involved in this case: Whenever Dela Cruz makes a new series of shaped panels as supports for his paintings, such as the ones in this exhibition, he would normally start by carefully adjoining pieces of large plywood into seamless continuity, their back reinforced with bars, and other stuff. The next step in this labor is to meticulously cut these thick panels into certain contours dictated by the final compositions he has previously and diligently worked out on his desktop computer. After this stage, the shaped supports would be treated with protective barrier to cut down their absorbency a little bit in preparation for the primer as well. The drawing of the entire composition comes next. And finally, the multiple layers of oil paint are applied, with enough drying intervals between each application to ensure each layer is at least dry to the touch, in order to achieve a certain level of richness that is definitely essential for a sufficient simulacrum of reality. The timely incorporation of the ubiquitous QR code onto Dela Cruz’s latest artworks is also worth mentioning. This is not an approximated QR code-like configuration added merely as a visual motif/element but rather as a valid, scan-functional, interactive one. This is the artist’s invitation for his audience to go ahead and scan these QR codes as a democratizing gesture that art is for everyone. Dela Cruz says, “Even though not everyone can own the paintings, anyone can somehow take them home, so to speak, go deeper about what the paintings are all about, share them with their families and friends via these QR codes.” Artists are so inclined to continue to create in order to have something enriching to share with the whole world, in physical form or otherwise, including the promise of interactive media such as the technology of QR code and the internet. We have heard that sometimes it is helpful to exaggerate things in order to make a point. As the saying famously described in Matthew 19:24 suggests: “It is easier for a camel to go through the eye of a needle than for a rich person to enter the kingdom of God.” Case in point is the artist’s crucial decision to relinquish the presence of a rider/deliverer, thus enabling us to focus instead on this overwhelming plethora of explicitly religious objects as vehicles of faith and not just mere cargos on outsized motorcycles. And even though it could be practical to view the captured subjects as a kind of bookends of a journey, Demet Dela Cruz, nevertheless, seems to have steered clear of any hint of motion, as if to evoke a narrative of stillness that causes us to contemplate the unchanging nature of the Divine. Benjo Elayda

Out of Eden | July 6, 2024 - July 27, 2024 Out of Eden Daniel Dela Cruz July 6, 2024 - July 27, 2024 1/9 View Catalogue Video Press Release For his solo exhibition, Out of Eden, at Art Cube, Daniel dela Cruz provides a compelling visual metaphor of humanity’s departure from paradise and its subsequent journey into the vast expanse of the world. The title itself encapsulates this exploration of the fall from grace, symbolizing mankind’s inevitable sallying forth into the four corners of the globe. The genesis of this exhibition is the work “Inevitability,” created in 2014 and inspired by Ecclesiastes 12:7: “Before dust returns to the earth as it was before and the life-breath returns to God who gave it.” This piece features a man’s outstretched arm, intertwined with a snake, capturing the essence of the biblical passage and the unavoidable return to our origins. It reflects on the cycle of life and death, and the eternal struggle between sin and redemption. A recurring motif in dela Cruz’s work is the boat, serving as a potent metaphor for the human experience. The majority of the sculptures depict men rowing boats, either alone or with companions, navigating the waves of life. These boats are crafted from wood, a material historically used by our ancestors as they explored the world, grounding the sculptures in a deep historical and cultural context. However, the figures themselves remain in metal, staying true to dela Cruz’s distinctive material of choice. The artist explains, "Boats have been a constant metaphor for the human experience as we traverse the tumultuous seas of life, searching for a way back to God." This sentiment is echoed throughout the exhibition, emphasizing the spiritual and existential aspects of our journeys. Incorporating his thoughts on redemption, dela Cruz states, “We must remember that the waters within us could also provide redemption. They may be stirred or tumultuous, but they can also wash away the debris of the past and provide us with a clean slate. We can use these moments to clear our minds and find new paths and experiences pointing to new destinations and horizons. This is how we find meaning.” Through this series, the artist offers a metaphor for the journeys we undertake, whether alone or with others, universally acknowledging our shared experiences and search for meaning. He anchors our resolve to our faith, determination, and belief in the paths life presents us. Out of Eden reflects on the human condition, our trials, and our constant quest for purpose and connection. -Carlomar Arcangel Daoana

Mid-Career Crisis Cedrick Dela Paz June 7 - 28, 2025 Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image 1/12 In Mid-Career Crisis, Cedrick Dela Paz turns inward, scrutinizing not only the outcomes of painting but the act itself—its routines, pressures, and evolving meaning in an artist’s life. This exhibition locates itself within that difficult middle point in an artistic career, when early promise has matured into responsibility, yet the clarity of legacy or mastery remains unsettled. The title alone points to a transitional moment that many artists experience: a space where youthful uncertainty is no longer a valid excuse, and the expectations—internal and external—begin to mount. In “Blangko,” Dela Paz foregrounds the tension of beginning. The canvas, left untouched, is not passive. Instead, it imposes itself as a burden and a frame—visually suggesting that the artist and his work are one and the same. Here, the act of facing the canvas is also an encounter with the limits of one’s own drive, vision, and persistence. The blankness becomes an active field of reckoning. In “Nocturnal,” the artist depicts himself hunched over a work, marked by a mechanical key on his back and a clock looming in the background. The imagery is clear: painting has become a race against time, an obligation tied to external demands. The sense of being wound up, driven by forces beyond the artist’s control, reflects the fatigue and repetition that come with deadlines and professional pressures. While many of the works are introspective, the exhibition also turns a critical eye toward the larger art world. In Silaw, for instance, the spotlight itself becomes the subject, suggesting how visibility can both illuminate and distort. In other pieces, the figure of the collector looms—less as a benefactor and more as an unseen force shaping artistic production. These works point to a network of expectations that often directs the artist’s path as much as, if not more than, personal intention. Still, Mid-Career Crisis does not present final answers. If anything, it underscores the unfinished nature of an artist’s growth. There is an ongoing negotiation between practice and doubt, process and pressure. The arc of success, however defined, carries with it a weight that Dela Paz confronts with clarity and restraint. In this exhibition, painting is neither romanticized nor dismissed—it is examined, with a sense of sobriety shaped by experience. '-Carlomar Arcangel Daoana Cedrick Dela Paz, born in 1995, is a visual artist from Pasig City, Philippines. He studied Visual Communication at Eulogio “Amang” Rodriguez Institute of Science and Technology (EARIST) in Manila. Since 2018, Cedrick has been a consistent finalist in numerous art competitions, earning recognition for his distinct approach. In 2019, he received a Special Citation from the Metrobank Art and Design Excellence (MADE), which paved the way for his debut solo exhibition later that year. Cedrick’s practice is rooted in figurative expressionism, with a strong focus on social realism and the cultural dimensions of contemporary societal issues. He is known for his unique portrayal of the human form—distorted yet grounded in reality—challenging traditional representations to draw attention to individual narratives. He primarily works with acrylic on multi-panel compositions (polyptychs), using this format to underscore the singularity of his subjects and the layered depth of their stories. 1/1

In the Meantime Ma Justina Redillas August 2 - 30, 2025 Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image 1/12 This solo exhibition by Ma. Justina Redillas inquires into the emotional signification of religious imagery. Taking off from the artist’s personal milieu, it is a continuation of her previous explorations with santo sculptures, recasting them this time as material registers of one’s inner world—not only of pain, grief, and confusion, but also of hope. The emergent body of work remains consistent with her expansive approach to material that is tactile and contemplative, at the same time. Redillas’s interest with the santo began with her family. Growing up among female relatives who practiced devotion to saints, she witnessed how they were able to gather strength and growth through their faith. The artist took this as her starting point and expanded her own meaning-making with the wooden sculptures over time. While the influence of her kin remains, her focus has shifted inward and into experiences of grief within the home and family. In the context of this exhibition, Redillas shifts her attention to the reparative capacity of the santo. The title, In the Meantime, suggests a point of liminality or a period of transition between two states, particularly of pain and healing. Redillas frames the santo as the intercessor between these. Painting the wooden sculptures black to surface notions of mourning, she transforms this signification by adding layers of polymer clay largely fashioned after living forms, such as bioluminescent organisms, and interjects emotive value to her previous experimentations with organic imagery through the medium. Through this, Redillas materially posits an interplay between loss and life and foregrounds the liberatory possibilities that may arise from this continuum. In particular, grief is overlaid—and transformed—through and into intentions of growth. The santo becomes the locus of this operation, deploying it not just as a passive referent but as the active facilitator of this process. “Through this work, I want to open up space for reflection, not just on pain, but on the hope and repair that can follow,” the artist shares. Visual and notional contrasts emerge as strategies to assert healing despite the insistence of pain, in the meantime. '- Chez Santiago 1/1