Aeternum Dolorem Melvin Guirhem April 12 - May 7, 2025 Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image 1/12 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 1/1

Good Morning Jonathan Joven November 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 Good Vibes, Great Lives Jonathan Joven captures the unbreakable spirit of the Filipino working class through a deeply personal lens in Good Morning, his exhibition of recent works. Inspired by his own father, Tay Jun’s tireless hustle across countless jobs—from porter to stevedore to pedicab driver, street food vendor, electrician, carpenter, and all-around handyman—Joven creates an homage to the everyday heroes of Manila, those who labor quietly, often unseen, in the gritty heart of the city. Here, the humble Good Morning towel stained with various shades of sweat and grime becomes a vibrant emblem of resilience, sacrifice, and survival. Joven’s father, like many in Tondo, Manila, wore this towel day after day as he took on whatever work he could find to support his family. A familiar sight among workers, the Good Morning towel is not just a piece of cloth; it’s a witness to the blood, sweat, and tears that fuel the city’s pulse. Each painted towel in Joven’s exhibit serves as a vivid reminder of these sacrifices, painted in shades of crimson to champion the enduring strength and courage of the Filipino worker. The red in his pieces doesn’t merely echo the text printed on it, it speaks to the lifeblood of the common laborer, echoing a gritty determination woven into the city’s landscape. The paintings go beyond just his father’s story, representing countless men and women who keep the locality moving. Joven also includes his acrylic, ink, spray paint, and oil on repurposed tracing paper on canvas paintings, Usad, to tell a story of transition and progress, staging a face-off between a traditional calesa and the more modern jeepney with a sprayed-on ghost of a bicycle refereeing in between. This collision of the old and new captures the city’s continual evolution, as traditions are both preserved and challenged by the forces of modernization. Sigasig, one of the centerpiece works, captures the frenzied energy of Divisoria, the famous marketplace where goods, people, and dreams all collide. Nearby is Tatag, a pedicab transformed with a makeshift tarp. Cast-off advertising is repurposed as shelter, a symbol of ingenuity in the face of scarcity. Joven’s depiction of such adaptations shows the street smarts required to survive everyday life with dignity and grace, and where the city’s workers navigate an ever-shifting economy with creativity and resolve. Through Good Morning, Joven holds up a mirror to the city, honoring those hard workers who keep it alive, fueled by the strength of individuals like his father and the collective spirit of countless others. It’s a stirring, tactile tribute to resilience and a reminder that the heart of a place beats in the hands of its people. Kaye O’Yek Jonathan Joven 1/1

Sangtigwa | November 4 -25, 2023 Sangtigwa Kevin Vila & Denmark Dela Cruz November 4 -25, 2023 1/7 View Catalogue Video Press Release SANTIGWA Knowing nothing can be better than thinking you know it all, a concept that some find liberating. There's a certain purity in ignorance, reminiscent of the bliss we experienced as children when we simply understood things through the lens of our senses. However, this kind of ignorance can also become a tool for corruption in the hands of those with selfish motives. People and society can mold children to serve their interests, creating the illusion of purity while ultimately tearing apart their dreams and aspirations. Childhood is the most crucial phase in a human's life. It's where we create an imaginative world, where pain and emotions are translated into monsters and characters we can play with. It should be a carefree time when the world is a vast playground, fostering curiosity and helping us learn about the true nature of life and love. As children, we don't judge what we see; we simply play with it. Sadly, this isn't always the case when we open our eyes. Children are often the most vulnerable in our fast-paced world, preyed upon by the harsh realities that surround them. We neglect the value and beauty of a child's innocence and forget that they are the future. While we often claim to think about the world's future and its greatness, we frequently overlook this key aspect. In the pursuit of creating a better world, we must ask ourselves: Who will heal these broken children? Where can they turn when the world seems to be closing in on them? Is it still safe for young people to nurture their curiosity? We already know the answers to these clichéd questions; we just need to refocus on what truly matters. As we move forward, we should pave the way for them to comprehend life through a positive lens. We should be attuned to their laughter, their tears, and their fears. We should all believe in a better place, especially those of us who were once like them—damaged, broken, and traumatized by the realities of life. We should be their healers, ready to offer guidance when the path ahead seems bewildering to them. Frenk Sison Denmark Dela Cruz & Kevin Vila Denmark Dela Cruz (b. 1990) is a contemporary artist in the Philippines who brilliantly encapsulates the hard-hitting reality of living in a dark society. Through his works, he courageously critiques the power and poverty inflicted on communities, as well as children who are often the unwitting victims of corruption, violence, and an unfair justice system. Dela Cruz’s works depict the powerlessness, faithlessness, and hopelessness of those caught amid revolution, war, terrorism, or an unfair justice system. His art conveys the pain and destruction marginalized populations face, illustrating the violence, inequality, and trauma of the political climate while acknowledging the strength of the human spirit despite suffering and despair. At the root of Dela Cruz's oeuvre is a passionate desire to uplift the plight of vulnerable children victimized by human and governmental selfishness. He challenges the status quo through his art and offers a nuanced perspective on the world that is both socially conscious and thought-provoking. His works ultimately implore us to open our hearts and minds, and combat structural and repressive systems to ensure a better future for all. Kevin Vila's works delve into metaphysics, ontology, and mythical fantasy, explaining the features of reality that exist beyond the physical world and our immediate senses. He also explores Philippine mythological stories and creatures, drawing parallels between their distinctive behaviors and human behavior, social problems, and present-day issues.

Paniniwala Manny Garibay March 1 - 11, 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 PANINIWALA: Faith, Power, and the Struggle for Freedom What do we believe, and why do we believe in it? Paniniwala explores the evolution of faith as a cultural force, and how it has been shaped, institutionalized, and even weaponized throughout history. In this exhibition, Emmanuel Garibay dissects belief not as an abstract ideal but as a lived reality influenced by socio-political factors. His works challenge the ways by which faith has been used to impose identity and mold public consciousness. Belief, according to Garibay, is not always freely chosen—it is often conditioned. In Kumbinsi, faith is forced through rhetoric, authority, and ritual captured in the act of coercion. The Spanish friars of the colonial era framed conversion as salvation, Throughout Spanish colonization, friars convinced Filipinos that salvation required abandoning their indigenous gods. The Church’s approach was presented as a path to redemption, but in truth, it served to establish control. Over time, the colonized not only accepted the foreign religion but also internalized inferiority. If persuasion initiates, Kolonya depicts its consequences. The work primarily echoes how colonial rule defined Western civilization and Christianity as superior, conditioning an entire people into self-erasure. Through compulsory baptisms, renaming, and education, faith became an instrument of submission that (mis)aligned Filipinos with foreign ideals at the cost of their native identity. Today, traces of Kolonya still persist in the worship of European and American cultures over our own. The narrative of domination concludes in Dakip, which means captivity. A stark image of a white man gripping the severed head of a brown man, while holding a book with a red apple on its cover. The apple, a symbol of both knowledge and temptation, underscores how American colonial education was designed not to empower but to separate Filipinos from their indigenous roots. By capturing minds, colonizers did not just control the land but also our stories, and hence, our being and belonging. The process of indoctrination reaches its peak in Doksolohiya, which exposes belief as a spectacle that is no longer about spirituality, but about obedience and institutional preservation. The Trinity meant to embody divine power is reduced to a dysfunctional hierarchy: the Father sits in silence, the Son surveils rather than saves, and the Holy Spirit is burdened by the weight of absurd authority. The cathedral, once a place of worship, is now a grotesque circus where faith is manipulated for political interest and economic gain. Santa Claus, transformed into an arms dealer, relates to the commercialization and militarizationm of religion, revealing how institutions co-opt belief. Yet even in persuasion, domination, conditioning and captivity, resistance is possible. In Tawid belief shifts from submission to action, depicting its reclamation as a force of liberation. The work portrays a lone protester standing on a bridge leading to Malacañang, holding a placard partially revealing “IBAGSAK” or overthrow. The image echoes a recent revolution, where faith in justice ignited a movement that toppled an oppressive dictatorship. This indicates faith in justice and the power of resistance as sites to overcome the shackles of control – pushing forth the nature and essence of history. Here, it is clear that belief alone is not enough and it must be paired with the struggle for truth, often initiated by the lone voices willing to take a stand and become the embodiment of choice in between oppression and freedom. At its core, Paniniwala questions what we choose to revere and who benefits from that reverence. As much as it dramatizes the ironies, distortions and fragmentations of our current systems of belief, it also departs from what bounds us and to step into the possibilities of the unbound. '-BG Manny Garibay Emmanuel Garibay, was born in Kidapawan, North Cotabato, Philippines in 1962. He is known as much for his expressionist figurative style as for the content of many of his works, which often express a keen social and political consciousness. He completed his Fine Arts degree at the University of the Philippines in 1989 and was part of the art group called Artista ng Bayan (People’s Artists). After a stint as an education officer in a cultural division at the Malacañang Palace, he commenced work as a full time artist in 1990 and began his studies at the Union Theological Seminary in 1992 completing a Master of Divinity in 1995. A prolific and internationally established painter, his work as organizer is an often overlooked but constant passion even when he was still studying at the University of the Philippines. He has headed various art and cultural organizations ever since, spearheading art projects with advocacies such as Tutok Karapatan (artists for human rights, 2006-2008), Kritikal Katoliko (art festival tackling Religion’s impact on Philippine society, Quezon City, 2008), Project Bakawan (campus-wide Environmental Arts Festival, UP Diliman, 2013-2015), and the Paghilom Arts Festival 1-3 (Regional Arts Festival, Cavite, 2016-2020) among others. He is currently chairman of Artletics, a non-stock, non-profit organization that empowers young artists to transform communities through art education. Garibay believes that art can be an effective medium for awakening consciousness. He believes an awakened consciousness through art can help people pull themselves out of their despondency and feeling of powerlessness to bring about empowered change. 1/1

Paths, Found Rocks, and Moss Rafael La Madrid 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 Finding Life, Surprising Paths, Found Rocks, and Moss by Rafael La Madrid invites us on a journey through the unforeseen interplay of nature and its elements. With a piece of rock, the artist realized how mysterious life truly is. One of the models for his lifelike oil paintings is a mossy, craggy rock with just the tiniest bit of green leaves sprouting. A wonderful story to tell behind the image is that the central object within started dry and smooth, yet curiosity and the artist’s restless spirit compelled him to water the rock every day, not knowing what to expect. Surprisingly, after a few months of doing this repetitive activity, life sprouted. Through his masterful strokes in rendering this moment in oil, La Madrid shows his viewers the intricate connections between life, renewal, and the inherent beauty in both the organic and inanimate. Each brushstroke from La Madrid unveils hidden stories of growth and transformation. His canvases depict interior and exterior scenes where the boundaries between the natural world and human viewpoints blur. Through meticulous attention to detail, he captures the essence of new life taking root amidst the rugged landscapes: a copse of trees reaching deep into the soil, hidden passages amidst layers of rock, a view from within a cave looking out into the light, overgrown tree trunks, and exposed roots. With breathtakingly detailed pieces, he references larger forms of nature, such as mountains, to refer to their smaller-pieced parts, dwelling not only in their magnanimity but also in the elements that help life grow, such as water and sunlight. The artist's compositions draw us in, inviting us to wander along winding paths that suddenly appear, trace the intricate patterns of moss-covered stones, branches, and fully grown trees, and marvel at the resilience of life emerging from unexpected places. He also draws inspiration from literature, specifically The Road Not Taken by Robert Frost, or more memorably, that of two roads diverging in a narrow wood. Viewers are transported into vistas of wonder and inner contemplation as they are pulled into the image and invited to engage with La Madrid's works. The intentional labeling of his artworks integrates text into the image, adding another layer of meaning and reinforcing the artist's seeming impulsion to further draw us into awe. Paths, Found Rocks, and Moss challenges us to reconsider our perceptions of beauty and growth and show us how light illuminates each minute surface it touches, giving not only gravitas to the frozen moment but also hope and luminosity despite darkness. As La Madrid's exploration of the unexpected reminds us of nature's ability to thrive in the most unlikely of environments, given an artist's loving care, he also encourages us to embrace serendipitous moments of discovery, finding solace in the ever-unfolding cycle of renewal. Kaye O'Yek 1/1

Pusyaw | July 1-23, 2023 Pusyaw Nic Navarro July 1-23, 2023 1/4 View Catalogue Video Press Release Pusyaw Nic Navarro’s latest exhibition, Pusyaw, extends and amplifies the visual vocabulary we have known of the artist. Navarro's previous works have often depicted a frozen world, where time stands still, giving rise to an eerie and surreal ambiance within ordinary interior spaces. However, in this current body of work, Navarro delves into the nature of time itself, contemplating its relentless passage and embracing the concept of breakdown and entropy. With Pusyaw, Navarro sets out to explore the passing of time, particularly in relation to the lifespan of a human being. This introspective journey was sparked by the artist's personal experience of providing care for his mother, witnessing firsthand the transformation of her once vibrant body into one marked by frailty and change. The inevitable process of aging, which begins during youth with dying cells rapidly being replenished, gradually slows down as we grow older, leading to a poignant reflection on the nature of mortality. Within the highly symbolic realm of Navarro's creations, uncertainty looms. Eggs crack, unveiling the fragile vulnerability of life, while a seemingly innocuous toy house becomes shadowed by the presence of a headstone angel. These visual representations embody the transience and fleeting nature of existence, evoking a sense of contemplation and introspection in the viewer. The artworks themselves mirror the theme of the exhibition, appearing faded and drained of color. This deliberate aesthetic choice serves as a metaphor for the coldness and solidity of stone, reminiscent of the passage of time and the inevitable effects it has on all aspects of life. Even the sky, portrayed as a seeming slab of marble, emphasizes the ever-present weight of time and its impact on our existence. In essence, Pusyaw invites us to confront the relentless march of time, exploring its significance through the lens of human mortality. Through Navarro's masterful artworks, we are prompted to reflect on the fragility of life, the inevitability of change, and the impermanence of our existence. This exhibition serves as a poignant reminder to cherish the present, embrace our own journey through time, and appreciate the beauty that can be found within the transitory nature of life itself. Carlomar Arcangel Daoana

Koleksyon | June 8 -29, 2024 Koleksyon Neil Pasilan June 8 -29, 2024 1/8 View Catalogue Video Press Release Koleksyon shares with us Neil Pasilan’s personal compilation of his own works; an anthology of stories in the fringe of his grand narrative. Much like objects in a museum, they are likewise preserved, cared for, and revered. They represent fragments of his imagination and forms of expression. The pieces are remnants of pursued visions and completed endings since they were made of leftover paint and used palettes. We find meaning in the materiality beyond what was prescribed, complemented by the artist’s confidence in the dynamic behavior of color. As a self-taught artist, artmaking for Pasilan has become an extension of his life when painting was organically integrated in his routine. Nevertheless, the mundane that is illustrated is not mediocre nor indifferent. There is a group of people rendered as black figures, certainly dim but not tragic. An angel is against a sea of blue, adorned with a single tree. There are a few lone characters who appear messianic with the light they bear. Some persons seem nomadic. The image and format of the landscape is disrupted in the collection: by a black and white textured portrait that is imposing with its puzzling wry face; and a collage work depicting a sword piercing a frame, the sharpest point at the end is held by an outreached hand. The familiar communities and characters reflect the consistency that was developed and nurtured in the artist’s practice. The crudeness of the edges of the picture plane implies there is more we can uncover; the artist paints and will paint some more. We might think that this is because of the persistence of excess, but in fact it is working within limitations that drives his creativity. Perhaps, this is a conscious diligence in creation–to fulfill his purpose of being. -Con Cabrera

And They All Gather Around the Zenith Jason Delgado 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 All Aboard the Slumber Train to Arced Dreamworlds Jason Delgado’s latest exhibition, And They All Gather Around the Zenith, offers an exploration of the personal and collective self through his paintings of pillows. The artist uses the imagery of this household object, something mundane yet highly personal, to symbolize reflection, vulnerability, and contemplation. The zenith is the highest point in the sky reached by the sun or stars. The artist gently prods our sights up this celestial arc as his work invites viewers to lie back and look up. Delgado seemingly reminds us that this act compels us to search inward, pondering on our hopes and fears as we gaze at the stars (or, often, our bare ceilings) for inspiration. At least until we feel the welcome pull of exhaustion finally lulling us to sleep. Painting pillows since 2017, Delgado views them as silent confidantes, vessels for innermost thoughts and dreams. Each painting has its character, a personal witness to private moments. But in And They All Gather Around the Zenith, these intimate objects are infused with contrasting elements: some have symbols of war and circus acts, while others are juxtaposed with hopeful motifs like flowers and birds. Several of them sprout gardens on printed fabric, the body impression of a head kept intact. Two pillows are bound with each other with pillowcases pulled and sewn together with knotted red thread. Others seem undisturbed and revered, still waiting to receive weary heads or other parts of fatigued bodies. With intricate oil on canvas pieces contrasting with his previous minimalist works, the artist embraces horror vacui or fear of empty spaces, filling the canvas with detail and contrasts. Channeling turmoil and the complexity of life, his pillows embody tensions between serenity and discord. One of the notable works in the exhibition, White Noise, encapsulates this concept: while chaos may seem overwhelming, there is beauty and calm within it, much like white noise itself, which soothes the mind amid the distractions of life, calming restless souls or even a fussy baby. As a new father, Delgado draws inspiration from his role as a hands-on dad, changing his perspective, and adding layers of caution and accountability for other lives. His nightly painting routine now often affords him a break at 3 or 4 AM and he fully relishes it while gazing at the sky from his rooftop, which mirrors the zenith’s upward arc during these moments of solitude. Thus his creative practice has become an act of cherishing fleeting moments, much like the transient peace one finds in enjoying rest. And They All Gather Around the Zenith signals a new perspective for Delgado. Perhaps we should not only admire the beauty of his pieces but reconcile with the deeper sentiments they evoke within. After all, they lead to the quiet moments when hopes, dreams, and fears gather, like an enveloping embrace that cradles, nurtures, and rejuvenates. Kaye O’Yek 1/1

Dreaming Daydreams Jotyl Jan Bermudez April 6 -27, 2024 Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image 1/12 A Permission to Revel in Reverie In Dreaming Daydreams, Jotyl Jan Bermudez's 8th solo exhibition, the artist's tableau-like oil paintings invite us to explore a world where reality and fantasy intertwine. Boundaries between the real world and imagination blur in a captivating dance of combined figures and objects, reminding us that daydreaming has become a rare luxury in our daily lives. Bermudez's figures are arranged on canvas like actors on a grand stage. Overture sets the scene with performers embodying the relentless spirit of our times, where the demand for more is constant and the roles we play often require us to give beyond our limits. After all, the show must go on despite exhaustion. It's a poignant reminder that, in the fast-paced rhythm of humanity, we are often required to give more than we think we can. Places Everyone expands the cast, presenting a larger ensemble of characters to the public, showcasing the intricate dance of normalcy and absurdity in everyday life. Bermudez delves into the lives of ordinary people performing their everyday roles while drawing inspiration from the twisted complexities of Shakespearean plays. It signals the start of the show, everything in its place in the artist's life, and a world where each person plays a part. My Side of the Wall turns our gaze to the dynamics of neighbors, revealing the complexities of human relationships and highlighting the nuances of connection and disconnection within close-knit communities. The artist challenges us to consider our roles in shaping our shared environments. We never know when dramas are unfolding behind closed doors or if secrets are whispered in hushed tones. Along with his larger oil paintings, Bermudez displays smaller, framed graphite sketches that demonstrate his ability to reproduce precise details and surfaces. These drawings, like whispers of dreams, add depth and nuance to the narrative, enhancing the viewer's connection to the themes explored in the exhibition. Dreaming Daydreams continues to provide subtle social commentary with a touch of humor that Bermudez is known for, inviting audiences to find pieces of themselves mirrored in the figures on canvas. The juxtaposition of classical themes with contemporary fashion and perspectives adds depth and richness to the narrative. At the same time, the artist's undeniable skill in rendering fine details and surfaces captivates the eye. He renders figures with animal heads like in ancient Egyptian religion or uses objects that people are already familiar with, allowing his pieces to speak in a way that everyone understands. In a way, the artist is holding our hand, leading us to take a breather and lose ourselves in the fabricated illusions we need to escape, so we can immediately go back and get into the roles we need to play again—this time with more passion, more energy, and more footwork. Kaye O'Yek 1/1

Canned Thoughts | May 4 - June 1, 2024 Canned Thoughts Carlo Tanseco May 4 - June 1, 2024 DSC07542.JPG DSC07542.JPG 1/9 View Catalogue Video Press Release Across the neighborhoods of the Philippine archipelago, from the tiniest shanty to the grandest mansion, canned goods stand as ubiquitous symbols of sustenance and familiarity. They line the shelves of sari-sari stores and supermarkets alike, bridging socio-economic divides. Among those about to live or work abroad, they carry these items in suitcases as they serve as steadfast reminders of home. Within this commonplace canvas that Carlo Tanseco’s solo exhibition, Canned Thoughts, finds its inspiration. With ingenuity and wit, the artist appropriates the labels of these everyday items, transforming them into conduits of humor, puns, mottos, and motivational statements. Working under the tradition of Pop Art, Tanseco cleverly re-interprets the names, branding, and other distinctive features of these household staples. By breathing new life into these mundane objects, he invites viewers to linger and contemplate the altered text that adorns the gallery walls. As visitors navigate through the exhibition, they are greeted with a playful reimagining of familiar objects, each bearing the imprint of Tanseco’s unique perspective. Whether it’s a tongue-in-cheek slogan or a poignant reflection on the Filipino experience, Canned Thoughts offers a refreshing take on the symbols that unite us and the stories that define us. Larger-than-life, the pieces blur the lines between two- and three-dimensionality, serving as both paintings and sculptures. Some works are offered as prints, echoing the repetition found on store shelves and further emphasizing their status as cultural touchstones. Tanseco’s vision extends beyond the confines of traditional gallery spaces. In a nod to the communal spirit of Filipino culture, he constructs a makeshift sari-sari store installation, complete with colorful snacks and candies for visitors to partake in. Here, amidst the whimsy of his creations, one can’t help but be drawn into a deeper reflection on the complexities and nuances of contemporary Filipino identity. Canned Thoughts not merely celebrates these pantry staples and what they portray but also affirms the resilience, resourcefulness, and optimism that define the Filipino spirit. In his exploration of humor, culture, and the mundane aspects of daily life, Tanseco invites audiences to reconsider the ordinary, finding beauty and meaning in these ever- present consumer goods. Carlomar Arcangel Daoana

Leaving Marks | October 7 - 28, 2023 Leaving Marks Shannah Orencio October 7 - 28, 2023 1/6 View Catalogue Video Press Release Leaving Marks In the delicate dance between art and nature, Shannah Orencio emerges as a trailblazer, challenging conventional perceptions of still life. Her latest exhibition, Leaving Marks, showcased at Art Cube, is a testament to her evolution in interpreting the genre, offering viewers a vibrant tableau where flowers, devoid of traditional vases, find their place in artfully arranged confinements, each bloom jostling for attention in a harmonious dance of colors and shapes. Orencio’s still lifes are not just arrangements; they are living narratives, inflected with an autobiographical strain, vibrant with the spirit of optimism and a celebration of life. The title, Leaving Marks, takes on a profound significance as it unveils the essence of her artistic journey. Instead of depicting images indicative of the places she visited post the nationwide lockdown, including Tagaytay, Tokyo, Germany, and Copenhagen, Orencio opts for her signature approach. Her canvases are adorned with the native flora of these locales, a conscious decision to capture the essence of these places through the prism of their natural beauty. The flowers, meticulously depicted in an accumulation within a box, become metaphors for the diverse landscapes she encountered. Rather than relying on the familiar landmarks, Orencio invites us to recognize the intrinsic connection between a place and its indigenous flora. Through her meticulous strokes, we discern the heartbeat of cities and regions, the unseen yet omnipresent natural features that contribute to their unique identity. In her own words, Orencio shares, “Traveling can leave a profound impact on individuals, shaping their character, values, and worldview, and leaving them with a collection of experiences and memories that become a part of their identity.” This sentiment reverberates through her art, where each bloom becomes a living memento of her journeys. The canvases are not merely paintings; they are windows into the artist’s encounters with diverse landscapes, people, and cultures. Leaving Marks indicates a complete departure from the constraints of life during the pandemic, a celebration of newfound freedom to roam and travel. In her exploration of different places, Orencio allows herself to be molded by the changing scenery and the people she encounters. The exhibition becomes a chronicle of her emancipation from the confines of indoor life, a testament to the resilience of the human spirit and the transformative power of travel. Through these works, Orencio not only leaves marks on her canvases but imprints the memories of her journeys onto the collective consciousness of her audience. Her floral arrangements—a riot of colors and shapes—serve as portals into the beauty and diversity of the world around us. In Leaving Marks, Shannah Orencio invites us to join her on a journey, not just across landscapes but through the very essence of life, as she leaves her indelible marks on the canvas. Carlomar Arcangel Daoana Shannah Orencio Having graduated magna cum laude from the University of the Philippines, Diliman with a Bachelor of Fine Arts major in Visual Communication (2012-2016), Shannah Orencio departed from her budding multi-media and illustrating career to focus on freelancing as an exhibiting visual artist. “..Orencio’s practice and process exhibit gestures of closeness, careful observations, and attention to personal subjects. This care extends beyond the canvas and herself, as the artist even chose painting frames that resemble boxes- allowing the audience access to the intimacy that the works carry as she saw them. Moreover, the dried flowers, leaves, twigs, and plants in actuality are not as colorful as the artist visually depicts, yet by consciously choosing to portray them vividly in spite of their states of decay, it imbues the work with the artist’s hopes.” -John Alexis Balaguer The artist has participated in several exhibitions, both local and international, and held her first solo exhibition at the Pinto Art Museum on the 5th of November, 2017.

Tunay na pangalan ng hindi kilalang anino | March 04 - March 25, 2022 Tunay na pangalan ng hindi kilalang anino Doktor Karayom March 04 - March 25, 2022 1/5 View Catalogue Video Press Release “TUNAY NA PANGALAN NG HINDI KILALANG ANINO” Update mo na yung bio mo...... nakita ko ang sarili ko na tumulala , umikot ang itim ng dalawang hindi pantay na mata palubog nangangatal ang mga ngiping dilaw at sungki hinigop ako ng aking sarili mula sa buntong hininga bago umubo napunta sa loob ng aking utak na may studio apartment ang laki at may nakasulat na pabrika.. dito ko niluluto yung mga ideyang napupulot ko sa labas ng mata ayus din dito.. may litrato ng pamilya ko, kabiyak, kaibigan at mga aso.. may tubig at baso..........maraming insenso... may isang upuan na nabili ko sa divisoria mall na buti mura lang.. may uupuan na din ako pagkatapos mangalay sa bigat ng dinadala na hindi ko maintindihan ko saan ko dadalhin.. tahimik akong dumadaldal na din... may sulok dito sa lugar na ito kung saan ako umiiyak ng tahimik dito ko sinasanay umiyak gaya ni jaclyn jose, yung iyak na makakatulog ka pagkatapos... pinahinga ko muna ang aking sarili sa pag ukit at hulma dahil sa katawang tao ko na tumatanda na pala.. isang buwan na pahinga lang ang ginawa ko.. baka kasi magtampo... may isang gamit akong kinatatakutan..yun ay ang langis... hindi ko kasi alam kung paano ito gamitin.., ang tagal pang matuyo.... ilang araw ko din itong may takot na sinusuyo.... hanggang sa ako’y kusang nagpayanggaw sa kapangyarihan nito ipinahid ang langis sa katawan para mag iba ng anyo.. ako pa rin naman ito... nagdagdagan lang ng pangil at pakpak tumalas ang kuko gaya sa dila at utak,,, dala na rin ng takot ko sa hinaharap.. hinarap ko din ang takot kong dala.. panibagong gutom na nadarama naghahanap ng puso..........para malamnan ang kalam ng sikmura.. sana makalipad ako ng mas malayo...... hindi ko na hahabaan ang write up ko na to. alam ko naman na tinatamad ka ng basahin ang pinagsasabi ko... tuloy po kayo.... - Doktor Karayom Russel Trinidad Russel Trinidad is a Filipino Artist that dove into the local art scene initially as a graffiti artist painting murals on abandoned buildings. Trinidad graduated with a degree in Fine Arts at the Technological University of the Philippines. He masked behind his street name “Doktor Karayom” for his street art. Trinidad continued his street art while holding exhibitions for his red paintings and sculptures. He found success in art competitions, first winning a t-shirt design contest for a local fashion brand, the Thirteen Artist Award in 2018, and was nominated to participate in the Ateneo Art Award in various years. For his upcoming solo exhibition, “Tunay na Pangalan ng hindi Kilalang Anino”. He wants to narrate the truth about his name and his experiences in life, as a son, as a partner, as a friend, and as an individual in the Art industry. The exhibition is about fear that can’t be seen but can be felt.