Static & Silent | May 4 - June 1, 2024 Static & Silent Jaime Pacena II May 4 - June 1, 2024 1/8 View Catalogue Video Press Release The exhibition "Static and Silent" presents the latest series by artist Jaime Pacena II, an exploration of stillness and observation in monochromatic form. "Static" represents a pause, a temporary cessation amid life's constant motion. In contrast, "Silent" prompts reflection on the complexities of human cognition and interpretation amidst the backdrop of daily life. Through this quiet dialogue, Pacena navigates emotions and perceptions, encapsulating aspects of human consciousness. In a world characterized by noise and chaos, "Static and Silent" offers a sanctuary—a place where time momentary pauses, and the soul finds solace in the rhythms of creative exploration.

Daffodils & Dandelions | January 13, 2024 - February 3, 2024 Daffodils & Dandelions Xian Lim January 13, 2024 - February 3, 2024 DSC00353.jpg 1/4 View Catalogue Video Press Release

Revisiting Shadows Isko Andrade October 12 - November 02, 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 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 1/1

Illimité | March 15 - April 5, 2025 Illimité Sal Ponce-Enrile March 15 - April 5, 2025 1/8 View Catalogue Video Press Release In her solo exhibition Illimité, Sal Ponce-Enrile delves into the boundless nature of painting, where abstraction and figuration can hold their own respective spaces, and where the interior world and the visible world find a point of convergence. The exhibition explores the limitless possibilities of the medium, revealing a deep engagement with form, color, and the expressive potential of the artist’s brush. At the core of Illimité are two distinct yet interconnected suites of works: one devoted to abstraction, the other to figuration. Ponce-Enrile’s abstract compositions are grand orchestrations of curvilinear shapes and tonal harmonies, their interplay generating a dynamic yet balanced visual rhythm. The overlapping layers range from opaque to diaphanous, each variation in translucency hinting at the shifting connotations and interpretations carried by their respective titles. In the series “Blessings,” forms resembling a flurry of wings emerge—gestures of benevolence, an offering akin to manna from heaven. In “Harmony,” feathery strokes pulsate in unison, their lively dispersion anchored by the solidity of a central rectangle, a compositional fulcrum that steadies the movement. Unlike geometric abstraction, where forms interlock with rigid precision, Ponce-Enrile’s abstract elements luxuriate in their spontaneous arrangements, offering the viewer a free, intuitive path into the composition—a visual entryway without prescribed direction. Juxtaposed with these abstractions are Ponce-Enrile’s figurative works, which retain the vibrancy of her palette while foregrounding the presence of the human form. In one striking piece, individuals clad in lively hues gaze in admiration at Picasso’s “Guernica,” their own dynamic arrangement mirroring the raw energy of the masterpiece. The juxtaposition suggests that a painting’s vitality is not solely contained within its frame—it is ignited by the viewer’s gaze, by the act of looking itself. In “Reverie,” a woman stands absorbed before Monet’s water lilies, her contemplation so deep that she seems to dissolve into the very landscape of the painting, as though she has transcended the boundary between artwork and reality. It is a meditation on the immersive power of art, its ability to transport and transform. Through Illimité, Ponce-Enrile underscores how the imagination, unbridled and expansive, animates life and the world around us. Her works capture the energies that propel our dreams, memories, and ideas, illuminating the inexhaustible wellspring of creativity that defines human experience. As the exhibition title suggests, les possibilités sont illimitées—possibilities are indeed limitless. Carlomar Arcangel Daoana

Finding Purpose | April 1 - 29, 2023 Finding Purpose Kim Gaceja April 1 - 29, 2023 1/4 View Catalogue Video Press Release To Rise and Shine In Kim Gaceja’s Finding Purpose, he delves into the reason for getting up every single day, taking inspiration from the words of Viktor Frankl, the renowned psychiatrist and Holocaust survivor. Frankl believed that meaning is instilled by an individual in the events of one’s life. He also stated that both work and suffering can direct one toward finding meaning, ultimately leading to fulfillment and happiness. One only needs to find meaning in small things to have a wonderful and meaningful life. With his muted tones, distinct brushstrokes, and delicate lighting creating a sense of quiet introspection, Gaceja brings his audiences on a deeper journey of self- examination and reflection. He uses his paintings to create faithful renditions of intimate spaces—a fixture in any home, a piece of furniture we use from cradle to grave—one’s bed. The bed is often seen as a symbol of comfort and safety. It is where we rest and recharge, where we let go of ego-driven projections of our public image. It signifies complete surrender, as we are most vulnerable when we are asleep. These days, however, the bed also serves as a sanctuary for people who have begun to fear each day, made so heavy by anxiety and doubts that they refuse to escape it. Courage and tenacity give power to those who face the realities and urgencies of the need to get up and be in motion, given these crippling times. The artist gently prods us with a question and offers a space for rest, encouraging us to ponder on why we do our daily routines and the tiny gifts of the present that allow simple joys and fulfillment. In determining our personal raison d'être, do we see the beauty and meaning in the everyday? Gaceja uses his art to invite the viewer to share a contemplative moment: that pause between the awareness of awakeness and the momentum created by movement, like feet hitting the floor. He asks who we wake up for, what gives us strength to persist, and gives us surprising wonders that justify why we exist. Kaye O’Yek Kim Gaceja graduated with a Bachelor of Fine Arts degree with a major in Advertising from the Technological University of the Philippines, Manila. Known for his dramatic paintings of simple interiors, he was one of the Metrobank Art and Design Excellence semifinalists in 2016, which is also the year he first joined group exhibitions at the GSIS Museum. Right after, he showed his works at Artery Artspace, Art Cube Gallery, Art Underground, Boston Gallery, Kaida Contemporary, Village Art Gallery, and Ysobel Art Gallery. He first experienced being part of Art Fair Philippines in 2018 through Mabini Projects, which was followed by participation in Kaida Contemporary’s lineup in 2020 and 2023. His recent works have also been shown in the Visayas Art Fair 2022 and the Xavier Arts Fest 2023. Finding Purpose is his second solo exhibition.

REDEFINING IDEAS | July 16, 2022 - August 06, 2022 REDEFINING IDEAS JOTYL JAN BERMUDEZ July 16, 2022 - August 06, 2022 1/5 View Catalogue Video Press Release The People We Become Childhood is the site of dreams, a sacred place where one imagines the life one would live as an adult and the role one intends to play in society. Usually, a child will fashion the fantasy on what they see in their immediate environment. A child who has a doctor for a parent will naturally gravitate toward this profession. Encouraged by a teacher who has seen early doodles and sketches, a child may pursue the arts. Jotyl Jan Bermudez in his solo exhibition, Redefining Ideas, is interested on why “some people reach their life-long dreams” while others “remain adrift.” Depicted in a surrealist style, the paintings depict people, juxtaposed with the symbols representing the attitudes, beliefs, and behaviors they have assumed in life. The man, in the work “Caution” for instance, has an alarm light for a head, which suggests an acute awareness of life and an ability to detect danger, which sets off the metaphorical alarm. On the other hand, a woman, in “Techno Lady,” features a robot head, which conveys how she parses the world in rigid definitions, calculating her decisions with extreme care. The tableau-like paintings offer a more incisive look into the pockets of modern life. In “Old Fashioned Fades Away,” the artist depicts figures donning armors and petticoats, surrounded by objects that represent the grandeur of the past. In this painting, the artist wishes to “reflect on the gallantry and sophistication of the good old days” as a contrast to today’s life marked with “a technological take-over.” The sepia-like treatment of the painting further heightens the nostalgia for the past, in which in things may have been slower, but nonetheless regal and meaningful. For “A Day’s Worth,” the artist presents the current role a woman has assumed in today’s society. In this painting, a woman, set in the middle of the space, presents a confident and a defiant pose, as she is surrounded by child-like figures and the accoutrements of the old life. In “A Bull Can Look Good Too,” Bermudez examines the nature of work, as exemplified by the figure who has a bull’s head. “Though you appear as cattle, a farmer’s livestock, a field animal, you can wear your decency with pride and dignity,” states the artist. In Redefining Ideas, Bermudez presents the contradictions between the past (as we know it from history books as well as how we imagine it) and the present, with all the ease and conveniences it affords. Our dreams evolve based on our environment but, as these works affirm, they still come from a primeval, powerful sense of wanting to shape our identity with which other people will perceive us. Old ideas, such as traditional gender roles, die. New ones, such as our technological dependence, emerge. Ultimately, it is all about “redefining ideas” so the world we live in may be more consonant with our sense of freedom and happiness. - Carlomar Arcangel Daoana Jotyl Jan Bermudez Born in 1989 and hailing from Tagum City, Davao Del Norte, Philippines. He earned his Bachelor’s Degree in Fine Arts at the Ford Academy of Arts Inc. in Davao City. Since 2012, Bermudez has participated in numerous group exhibitions in galleries and art institutions in Manila, Vietnam, Singapore, Indonesia, Japan, and London. For his upcoming 4th solo exhibit, titled: Redefining Ideas, Bermudez was inspired to portray characters that reflect individual roles and placements within the social environment. For him, as one grows older, one starts to perceive their own individual outlook in life. Previous ideas of life during childhood differ much according to the social status people had then. As people mature, some are able to sustain the living they are used to and some due to differences in possibilities and circumstances reach their life-long dreams but there are still those who remain adrift.

Imaginary Playmates: Frida Kahlo & Diego Rivera | February 10, 2024 - March 2, 2024 Imaginary Playmates: Frida Kahlo & Diego Rivera Plet Bolipata February 10, 2024 - March 2, 2024 1/12 View Catalogue Video Press Release Imaginary Playmates: Frida Kahlo & Diego Rivera Imaginary Playmates signifies Plet Bolipata’s return to her first love—painting. Having previously explored various sculptural media and other forms artistic expression, the artist’s latest worksweave together strands of interrelated narratives delving into the complexity of artistic influence, the small and large experiences that inform biography, and the interiority of a woman who, having found her voice in the world early on, has always spoken from the truth of her being. The exhibition, as it begins, unfolds as a poignant dialogue between the artist and her artistic idols, Frida Kahlo and Diego Rivera, who serve as both inspiration and guiding lights throughout Bolipata’s creative journey. But more than being a creative muse, Frida Kahlo, in particular, serves as a mirror on which Bolipata can examine the contours of her life as a woman, an artist, and a spouse to an acclaimed partner. A theme that runs in the exhibition is Bolipata’s sisterhood with Frida Kahlo, a connection that transcends time and space. The gallery itself undergoes a metamorphosis, mirroring the iconic La Casa Azul—Frida Kahlo’s home, now a museum open to the public. Bolipata’s mastery of pastiche, combining magazine clippings, free-hand drawing, and the luxurious touch of gold leaf—all against intricate textile patterns—plumbs into the psychological depths faced by women dealing with issues of infertility,their splintered roles within and outside the domestic sphere, and intimations of mortality. Pastiche, as a technique, allows Bolipata to consider the accidental forces that shape our lives, those aspects beyond our control but no less significant. The resulting juxtaposition of elements creates a thrilling surrealist atmosphere reminiscent of Kahlo’s style, but is inflected withBolipata’s whimsical and ebullient spirit. The appearance of Frida Kahlo in Bolipata’s works becomes a symbol of shared affinity, highlighting Kahlo's lifetime struggle with the overshadowing fame of her husband—a narrative that resonates with Bolipata’s own artistic odyssey. Despite the weighty themes explored, Bolipata’s works maintain the visual exuberance and generosity for which she is known. Each piece is infused with biographical details, transforming the canvas into a visual diary of Bolipata’s life experiences. A Jeep, for instance, symbolizes the exhilaration of newfound driving skills, while a Matisse book points to the artist’s enduring love for the French painter. These works, unapologetically unrestrained, collectively form vignettes that offer a glimpse into Bolipata’s life, but through the benevolent lens of art. Each canvas, rich with personal narratives, contributes to a courageous and searching contemplation of the artist’s sensibility in this time of oversharing in social media. Bolipata’s Imaginary Playmates serves as a tonic—a refreshing and invigorating presence in Philippine visual arts. Her homecoming to painting emerges not only as a personal milestone but as a glimpse into the imagination of an artist who is at the height of her abilities. Carlomar Arcangel Daoana

Aeternum Dolorem | April 12 - May 7, 2025 Aeternum Dolorem Melvin Guirhem April 12 - May 7, 2025 1/6 View Catalogue Video Press Release AETERNUM DOLOREM, Melvin Guirhem’s 13th solo exhibition, invites you to comprehend pain—that mysterious ‘frenemy’ who indiscreetly lurks in the shadows—as authentic, constant, indestructible, and, in a sense, eternal. A Latin phrase that means “eternal pain,” AETERNUM DOLOREM presents a collection of handcrafted textile art that instantly draws attention to Guirhem's semiotic perspective on family and kinship. Appropriately rendered in the horror vacui idiom are allegorical depictions of his own malignant familial narrative, conjuring images of chaos, anguish, and pain. Blurring the boundaries between the personal and societal, and fading the divide between despair and hope, are the surrealist characters in distorted forms with vibrant swatches of fabric cutouts highlighting hostile temperaments as normalized domestic affectations. Guirhem’s sharp visual prose seizes the eye, powerfully conveying pain as an embodied experience. Throughout his artistic career, Guirhem has portrayed the family as a powerful symbol of social exclusion and political tension, forces that have shaped the world across generations. In his work, the family becomes a microcosm of inequities that demand recognition and intentional action, not only to alleviate but also, if possible, to free future generations from potential suffering. This notion of cross-generational stewardship (or the lack thereof) within the fundamental social institution is the focus of Guirhem's art for the most part of three decades, in which he depicted pain as a cyclical struggle, transcending both time and place. Drawn from lived experience, AETERNUM DOLOREM represents the culmination of the Guirhem narrative—an opus that serves not as an affront to the traditions, values, and religious faith of the family to which he belongs, nor to the community with which they have evolved across generations, but rather as a timed series exploration of the stages of his deeply personal feelings and emotions. The Guirhem appliqué, with its ornate stitchery and delicate embellishments, stands out among a vast array of artistic styles. Notably, the artist dissects pain through a blended composition of social and psychological realism, forming a visual repertoire that explores bloodlines, patrimony, and legacy, guiding the artist toward a retrospective examination of life's philosophies. Evident in the work is the Guirhem trademark of existential symbols drawn from his experiences: chains, thorns, and sharp edges representing physical, emotional, and psychological entrapment; deformities and distorted bodies symbolizing prolonged suffering and agony; blooming flowers reflecting love and productivity; and colorful butterflies signifying hope and metamorphosis. At the heart of the collection lies LIWANAG SA DALIM, a striking portrait that weaves a nuanced depiction of family, framing inheritance as a bitter-sweet paradox, bearing the weight of both blessing and burden, forever etched in the artist’s soul. It portrays the couple’s bodies suspended in a horseback in an uncanny state of equilibrium, bridging the figurative and metaphorical representations of paternal and maternal figures, demonstrating breadwinners as workhorses, embodying the idea of tireless humans, their strength likened to 'horsepower' and machines. Contrasting affection and intimacy is the visceral tension that blends agony with desire, the sacred with the profane, within a family in flux. Here lies the fated life of the artist, shaped by the bones of their elders, nailed to a crucifix and chained to a karosa—a carabao-or horse-drawn farm cart, equivocal of daily burdens and a lifetime of misery. It is a precarious household, set ablaze by the evils of society, sending kin floundering in diverging directions—an allegory of hell wrought from deficient intellectual capital and squandered patrimony. Enriched with semantic potential, it personifies the Guirhem couple engaged in an intimate act, with Melvin embodying the ethereal bloodline and Recheal perpetually in bloom—a dialectic of fertility and reproduction. This coagulates the shared roles of spouses in nurturing the family’s well-being, spotlighting Recheal as a moral and spiritual character in an iconographic portrayal of the Reyna de las Flores de Mayo—the Queen of Flowers—a central figure in the Santacruzan procession during May—highlighting the peculiar burden associated with her meaningful role, as reflected in the biblical scripture: "Thy word is a lamp unto my feet, and a light unto my path." In LIWANAG SA DALIM, Guirhem synthesizes the historical roots of pain within the family, honoring his wife as a source of light throughout his journey into the dark landscape of his life, offering a profound understanding of the nature of pain. Overlapping with the narratives of LIWANAG SA DILIM are a series of thought-provoking portraits that deconstruct the experiences of pain and family dysfunction. These portraits serve as a visual chronicle of major episodes in the artist's life, presented aesthetically through a contrast of gloom and bloom to convey meaning. Illustrating a family plagued by gloom and torment, KOMUSYON captures the artist's memory, portraying Guirhem as an observer, shocked by the incivilities within his family. In this setting, the dining table becomes a battleground for real-life conflict, where enduring disagreements and anger unfold in verbal commotion. Food, instead of being seen as a grace and blessing, is reduced to symbols of ingratitude, leading to misfortunes. The work epitomizes the fading emotional connection and spiritual hypocrisies within a conflicted family, as emphasized by the crucifix, further intensifying the emotional impact of pain on the artist. Exacerbating the gloom of suffering is ETERNAL PAIN, a deeply emotional and personal confession from the Guirhem couple, who faced the agonizing loss of an unborn child. This tragedy left them with a profound sense of emptiness and caused them to question their roles in life. The portrait idealizes the family as a monarchial unit in an ironic display of crowns and thorns, emblematic of their intense struggle to conceive. It depicts children as precious yet elusive gold, supposedly their birth symbolic of dignity, hope, completeness, and continuity. The piece serves as a remnant of lost aspirations, while also sparking the process of personal purification that brings emotional balance and peace to the couple's hearts, from which the blooming of flowers and butterflies emanates. From bloom and gloom are dissonances between personal and social norms and these are exemplified by KABALIKAT (partner) and HAPIS (sorrow and grief). These pieces continue the narrative of survival highlighting the important role of partners in life as a support system and sources of joy and inspiration, easing sorrow and grief. From the internal world of the family, the artist steps into the social milieu in HUKOM, confronting its dissociative tendencies, especially when faced with 'know-it-all' characters. In this piece, the artist critiques the notion inscribed on the canvas: 'Na ang talino at kabutihang loob ay batay lamang sa galing ng pananalita at hindi sa gawa???' By doing so, the artist reframes the idea that those who are articulate in speech should also be judged by their actions. HUKOM serves as a caveat for those who rely solely on sweet words, reminding them that they too will encounter pain. Completing the narrative is ELUXOROMA, a work that embodies the virtue of positive spiritual growth amidst chaos and pain. It serves as a composite representation of Guirhem’s past, present, and future. The artist, moving forward with cane and butterfly, is gently nudged by the hypnotic slithering motion of a serpent's undulating body. This evokes a return to his past, with claws representing unforgettable memories, cells symbolizing a lifetime of imprisonment from old beliefs and inadequacies, and insurgents whose ideology continues to undermine community peace and harmony. AETERNUM DOLOREM captures the power of art to facilitate acceptance of the coexistence of life and pain, an epigram of the artist’s cathartic journey to healing and self-understanding—mirroring our own experiences—evoking the universality of this profound human condition—a coming of age of the artist. - Ted Aldwin Ong

Domo Arigato Mr.Roboto | October 08 - 29, 2022 Domo Arigato Mr.Roboto Carlo Tanseco October 08 - 29, 2022 1/6 View Catalogue Video Press Release DOMO ARIGATO, MR. ROBOTO Lifting the exhibition title from Styx’s 1983 hit “Mr. Roboto,” Carlo Tanseco produces a collection of works that merges abstraction with his interpretations of robots, mainly drawn from popular titles of Japanese anime series. Thus, creating images that seem to challenge familiar approaches in composition and employing elements influenced by the artist’s background in architecture and design. The use of geometric patterns in Tanseco’s works organizes the material’s surface and places consistency through repetition. These patterns are reminiscent of the traditional Japanese dyeing technique known as Shibori, which creates dye-resists in the cloth by folding, pleating, and bunching. However, in this exhibition, the patterns are disturbed by the sudden emergence of robots and other futuristic representations that appear in unison with the initial image. In doing so, the artist somehow challenges the blurring boundaries between fine arts and design. In addition, Tanseco remembers a time in his youth when classic Japanese anime ruled television sets while the rest of the world was preparing for a future that technology somehow overtook. However, the exhibition levels the field between tradition and modernity--- that by bringing them together, we move forward carrying inherited knowledge. As such, the works also reveal changes in contemporary times regarding materiality. The artist’s use of resin as an alternative to porcelain when making three-dimensional works indicates the evolution of materials and the honing of attempts to find a medium that would concretize one’s ideas in the present context. The presence of robots in Tanseco’s works disturbs the anticipation of seeing the familiar. Instead of dragons and pagodas, as seen in many Japanese prints, he incorporated robots and spaceships, which one can view as a disruption to humanity. However, it must also be remembered that the affinity to these robots in such cultures is loosely rooted on account of Animism. As a component of the Shinto faith, it offers the notion that all objects have a spirit, even robots. In the fast-paced shifts and transitions of modern life, we could appreciate a time when patterns are muddled to give way to an emerging world that holds everything altogether: past, present, and future. - Gwen Bautista Carlo Tanseco Carlo Tanseco produces a collection of works that merges abstraction with his interpretations of robots, mainly drawn from popular titles of Japanese anime series in his solo exhibition, “Domo Arigato, Mr. Roboto”. Thus, creating images that seem to challenge familiar approaches in composition and employing elements influenced by the artist’s background in architecture and design. The use of geometric patterns in Tanseco’s works organizes the material’s surface and places consistency through repetition. However, they are disturbed by the sudden emergence of robots and other futuristic representations that appear in unison with the initial image. In doing so, the artist somehow challenges the blurring boundaries between design and fine arts.

Alibangbang PJ Cabanalan August 10 - September 7, 2024 Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image 1/12 Alibangbang In the upcoming solo exhibit “Alibangbang”, PJ Cabanalan invites viewers to embark on a journey through the enchanting world of butterflies. This exhibition serves as a contemplative exploration of the delicate interplay between beliefs, culture, nature, and philosophy, with the butterfly as its central metaphor. Each painting in “Alibangbang” is a testament to the intricate beauty and transient nature of life, depicted through vibrant 3D acrylic flowers, rich textures, and meticulous acrylic work. The a butterfly, an enduring symbol of transformation and resilience, emerges as a poignant metaphor for the human experience—a celebration of life's ephemeral beauty and the relentless pursuit of growth and renewal. The large-scale works in this exhibition capture the viewer's imagination through a kaleidoscope of colors and textures. From the delicate wings of each butterfly to the lush, multi-dimensional flowers that compose them, Cabanalan weaves a tapestry of personal and universal symbolism. These paintings are not mere representations of butterflies; they are a dynamic dialogue between nature and artistry, inviting the audience to reflect on their own life journeys. By employing a view of the butterfly with its wings open, Cabanalan presents the butterflies in state of constant metamorphosis. This approach underscores the fluidity and interconnectedness of life, where every moment is a convergence of past, present, and future. The resulting works reveal a world where the beauty of nature and the intricacies of human existence are inextricably linked, each element holding significance and contributing to the grand narrative of life. In “Alibangbang,” the butterfly becomes a conduit for introspection, urging viewers to admire the fleeting moments of beauty that punctuate our lives. The exhibit transcends the mere aesthetic, offering a profound meditation on the philosophical and cultural significance of the butterfly. It is a visual ode to the resilience of the human spirit and the enduring allure of the natural world. Through this exhibit, PJ Cabanalan extends an invitation to pause and appreciate the delicate balance of life's beauty, mirrored in the fragile yet resilient form of the butterfly. “Alibangbang” is not just an exhibit—it is a celebration of the transformative power of art and nature, a testament to the enduring spirit of wonder that propels us all forward. '-G 1/1

You. I. Luv. | March 13 - April 4, 2026 You. I. Luv. Ian Inoy March 13 - April 4, 2026 1/8 View Catalogue Video Press Release YOU. I. LUV. examines and enacts resilience as a historically produced condition shaped by colonial legacies, structural violence, and collective trauma. Grounded in the Filipino experience, the exhibition draws from postcolonial and trauma studies to question how resilience has been normalized as both a cultural expectation and a survival strategy. Rather than framing resilience as an innate strength, the exhibition asks how it is learned, imposed, and sustained across generations. Postcolonial histories of the Philippines reveal resilience as a response to repeated cycles of domination, displacement, and instability. Under colonial rule and its aftermath, survival often depended on adaptation rather than resistance, producing narratives that valorized endurance while obscuring systemic harm. Within trauma studies, this form of resilience can be understood as a coping mechanism that prioritizes continuity over repair, enabling life to go on without necessarily resolving the conditions that caused injury. Cultural practices such as bayanihan, the ethic of communal care and rebuilding, have functioned as vital modes of survival. While these practices foster solidarity, they can also operate as what trauma theorists describe as premature closure, limiting space for grief, refusal, or sustained critique. The expectation to move forward quickly transforms resilience into an obligation, where acceptance becomes necessary for social cohesion rather than personal healing. Through painting, sculpture, participatory installation, and performance, YOU. I. LUV. resists the spectacle of recovery and instead attends to the quieter temporalities of trauma. The works foreground rest, stillness, movement, and introspection as meaningful responses to historical and emotional rupture. In this context, slowing down becomes a political gesture, interrupting narratives that equate resilience solely with productivity and perseverance. A recurring figure, Fu Bear, functions as a reflective surrogate shaped by accumulation rather than resolution. Appearing across multiple forms, the figure embodies what trauma theory describes as an ongoing negotiation with memory and vulnerability. Layered environments, visible revisions, and imperfect surfaces emphasize process over completion, allowing traces of damage, hesitation, and care to remain present rather than concealed. Across the exhibition, resilience is distributed across bodies, objects, and shared space. Viewers are invited to move through different registers of attention—looking, walking, listening, participating, and letting go—mirroring the ways endurance is learned and carried collectively rather than held alone. Ultimately, YOU. I. LUV. reframes resilience as an ethical and critical practice. In dialogue with postcolonial and trauma frameworks, the exhibition proposes that resilience is not defined by the capacity to endure endlessly, but by the ability to reflect, refuse, and reconfigure inherited modes of survival. Moving forward, here, is understood not as recovery, but as the deliberate reconfiguration of how one lives with history, materially, bodily, and collectively. -Ian Inoy, MFAD

Tending Fires During an Eclipse | April 6 - 27, 2024 Tending Fires During an Eclipse Rando Onia & Iya Regalario April 6 - 27, 2024 DSC06200.JPG 1/4 View Catalogue Video Press Release Tending Fires During an Eclipse Tending Fires During an Eclipse brings together for the first time the artistic visions of Rando Onia and Iya Regalario, notable for their mastery of the pyrographic pen as medium. This exhibition intersects with the momentous occurrence of The Great American Eclipse on April 8th, offering an interpretation on the relationship—and contradiction—between darkness and light, as symbolized by the celestial bodies of the sun and the moon. Across diverse cultures and religious traditions throughout time, the sun and the moon have served as potent symbols, steeped in mystery and laden with symbolic significance, especially when they overlap during the phenomenon of an eclipse. In this exhibition, Onia and Regalario delve into the interplay between these primal forces, reflecting upon the fundamental essence of human existence and our connection to the natural world. The principle “as above, so below” suggests a deep connection between the cosmos and human existence. In the context of an eclipse, this alignment of celestial bodies symbolizes the merging of opposing forces, echoing within human consciousness. The eclipse serves as a moment of revelation, blurring the boundaries between the celestial and the earthly, and highlighting the intertwined nature of cosmic energies that shape our reality. In her exploration of light as a temporal element that intertwines with the fabric of history, Regalario traces lineages and narratives through time, as seen through the prism of religion, culture, and mythology. Meanwhile, Onia’s focus on carbon, derived from the process of consumption, offers a visceral and haunting depictions of cataclysmic events influenced by the gravitational forces of the moon and the sun. Their collaborative work which forms a complete circle and alludes to an eclipse features Regalario unveiling the potent symbols of history while Onia delves into the depths of darkness, utilizing carbon extracted from exhaust fumes as pigment. Tending Fires During an Eclipse contemplates humanity’s place within the cosmos and our relationship with the celestial bodies that have come to symbolize both darkness and illumination. It is a poignant dance between the totality of darkness and the vitality that light bestows upon human history, underscoring the enduring power of the sun and the moon as symbols of cosmic significance. Carlomar Arcangel Daoana