A Field Guide to Navigation | February 14 - March 7, 2026 A Field Guide to Navigation Eri Abe February 14 - March 7, 2026 1/6 View Catalogue Video Press Release Where do roads ultimately lead? Roads have long been considered foundational physical markers of advancement. They form channels through which movement flows—connecting places, bridging different cultures, shaping civilizations, and allowing the passage of people, stories, and goods. Metaphorically, roads also symbolize the paths our lives take when we make certain decisions: do we go straight, take the fork in the road, make detours, or turn back completely? Each choice affects our personal growth. Literally and figuratively, both meanings suggest that roads suggest direction— but do not guarantee clarity or arrival at a charted destination. Where these paths will take us—nobody really knows. Learning to navigate both city roads and life can be a challenge. Both are unpredictable, prone to chaos, susceptible to change; often, they require flexibility and adaptation. Just as we respond when we encounter obstructions, blocks, and various problems on the road, our lives are rarely a single, clean line from point A to point B. Instead, they are a series of overlays—non-linear and complex. The artist, Eri Abe, notes that both are “confusing, layered, and often misaligned”. A Field Guide to Navigation can be seen as personal notes of the artist, gathered from her experiences, memories, insights, and observations—from watching how people, animals, other beings, and the environment move, navigate, improvise, and adjust within fixed conditions and rigid systems of life. Eri’s works invite reflection on how life seemingly continues outside the lines, marks, borders, and structures we create. Even if systems are flawed or fail, life will persist, adapt, and diverge— forever seeking another way to flow. -Danna Espinosa

Divine Timing Froilan Calayag June 8 - 29, 2024 Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image 1/12 In his first solo exhibition for Art Cube, Froilan Calayag unveils a spellbinding collection that showcases his distinctive style and figuration, which blends surrealism, fables, and personal mythology. Titled Divine Timing, the exhibition explores the concept of moments when everything aligns perfectly, creating a sense of inevitability and divine orchestration. For Calayag, this exhibition represents a pivotal moment in his artistic journey—a crossroads where he confronts and embraces his identity as an artist. Divine Timing reflects on his life and career, embodying his acknowledgment that painting is not just a vocation but a defining element of his existence. This show is a full embrace of his life as a painter, an acknowledgment that his artistry shapes his very being. While Calayag humbly acknowledges that he still has much to learn, this exhibition demonstrates the full mastery of his talents. The centerpiece of the show, a large-scale work titled “Bright Tides,” measuring 9 by 19 feet, exemplifies both the scale and complexity of his craft. This vibrant painting exudes an intense sense of jubilation, depicting fish leaping joyfully as bears eagerly await their catch. The dynamic interplay between the darkened left side of the painting and the well-lit right side serves as a powerful mode of storytelling, symbolizing the transition from struggle and uncertainty to clarity and celebration. “Bright Tides” is a highly symbolic work that embraces the complexities of human nature. It juxtaposes our fears and misdeeds with our hopes and virtues, suggesting that true understanding comes from acknowledging and integrating all aspects of ourselves. In addition to “Bright Tides,” the exhibition features a series of paintings that depict scenes of harvest and the receiving of gifts. These images symbolize abundance, gratitude, and the fruition of one’s efforts. They serve as metaphors for the rewards that come from hard work, perseverance, and the alignment of internal desires with external opportunities. Froilan Calayag’s "Divine Timing” invites viewers into a world where the surreal blends seamlessly with the personal, creating a rich tapestry of symbolism and narrative. By immersing us in his visionary landscapes, Calayag not only shares his own stories but also encourages us to reflect on our own inner journeys. The exhibition reminds us that every moment of magic is indeed a product of divine timing. '-Carlomar Arcangel Daoana 1/1

Punit | November 9 -30, 2024 Punit Obet Tiaño November 9 -30, 2024 1/4 View Catalogue Video Press Release Tearing and Filling In Punit, Obet Tiaño fashions together fragments of fabric and life, blending intentionally cut holes and overlapped materials into images that tell stories of potent and raw emotion. The artist builds on a testament of strength and courage as he presents six dynamic paintings of quiet resilience, each piece holding layers of meaning. Growing up, his family had a humble tailoring and modiste shop, which served as a vibrant playground for his young imagination. As he became more serious in his creative production, however, he was inspired by the various scraps of fabric left after cutting. He got the idea of using these torn pieces as an art style, not only repurposing them for his paintings but physically making holes in canvases before laying them on top of each other and then painting them through those layers. This, he feels, is also reflective of what has happened in his life, one he considered a bit tough and torn apart as he gives his best efforts to piece everything together. Tiaño started working in this style back in 2017, but had to stop for a while around 2020 due to urgent health concerns. He switched to painting on plain canvas, but now part of his recovery is returning to doing his process the way that he truly loves. Unconditional Love is a fusion of female and male subjects dissected by a very thin white line. Divided into two sections, it reflects on the complexities of relationships, offering a symbolic portrait of his own and seemingly reminding us that mutual support in life connections is a wellspring of inspiration, recovery, and growth. Holes appear as voids filled by vistas of peaceful horizons in this work and his other pieces, replete with grass dancing with the wind and resembling calm ocean waves. The “torn” fabrics on his canvases are not merely surface textures; they’re symbolic scars, echoing the physical and emotional trials faced by everyone. The magic also comes in as the viewer expects some parts of the painting to be pierced canvas, only to realize that it in actuality is flat, and the artist used trompe l'oeil to fool the eye. Dark spaces are crisscrossed by thin lines like fine cracks or fiber, breaking the image visually but still serving as a shroud that veils the emptiness. Though Tiano’s path was marked by health struggles and hardships that nearly sidelined his practice, art still sustains him, bringing him joy and purpose through physically taxing times and providing the financial means for his medical needs. He is an artist who is meant to paint, he says, and only paint because it is where he draws his strength. Weaving together the totality of life experience with a raw, intimate lens, Punit is his way of capturing the imperfections, the scars, the nothingness, and the torn edges of existence, his smooth applications of oil on canvas soothing the eye and the soul even when life frays at the seams. Kaye O’Yek Obet Tiaño

Taliwala | May 9 - 30, 2026 Taliwala Jessa Balag May 9 - 30, 2026 DSC01652.JPG 1/4 View Catalogue Video Press Release How Thoughtful, How Taliwala Jessa Balag has long painted from places close to home. The daughter of a baker and a homemaker, she first became known for works shaped by bread. Objects tied to labor and nourishment appeared throughout her paintings and installations as markers of everyday survival and intimacy. In Taliwala, her exhibition of recent works, the artist continues this sensitivity toward ordinary objects by turning her attention to the humble brown paper bag. It may be cheap, disposable, and often unnoticed, but for her, it is deeply tied to memory and upbringing. This supot is used to hold piping hot pandesal fresh from the oven, its surface absorbing warmth, oil, and the scent of bread in early mornings. It is also used for takeout food, packed lunches, baon, and pasalubong. Moving quietly through daily life, it becomes more than simple packaging. It becomes a symbol of caregiving, nourishment, and the quiet labor of preparing something for another person. It passes from hand to hand without ceremony, yet it carries traces of affection and thoughtfulness. Taliwala is a Cebuano word that refers to being in the middle, the space between departure and arrival. Balag began production for the exhibition by asking herself a simple question: why do people travel, and where are we all going? Behind every trip is a reason that cannot always be seen. Some travel to work, to provide. Some leave home carrying food, gifts, or necessities for others. In these works, travel is shown as an act tied closely to responsibility, love, devotion, and hope. And that special package you carry from one point to another. The paper bag becomes a vessel for these unseen motivations. Its contents are often hidden, but what it represents feels deeply familiar. In one work on canvas, a man clutches a large paper bag that contains fragments of memory and domestic life in well-loved picture frames. In another, multiple bags hover above a young figure like thoughts or a rainshower of takeout food suspended in midair. One bag frames a boy’s animated face as he finds a treasure probably previously wrapped as a surprise. The ordinary object becomes psychological and symbolic without losing its connection to real life. The exhibition also includes ten painted and sculptural paper bags constructed with epoxy, each functioning as its own container of narrative. Wrinkled surfaces, folded edges, and worn textures are rendered with care, allowing the bags to feel almost soft. Balag paints figures on the brown ground, each face layered with a slice of everyday ephemera: calendars, paper bills, IDs, serving as markers of mundanity. A red ribbon is also part of the artist's imagery, suggesting an unseen bond between people separated by distance and circumstance. Even in moments of isolation, the works imply that people remain tied to one another. In Taliwala, that artist refuses to separate the poetic from the ordinary, finding meaning not in grand gestures, but in the small acts people repeat daily for family, friends, and loved ones. As she continues her creative journey, Balag expands her visual language while remaining rooted in the same concerns that have always shaped her practice. She paints the quiet architecture of care, and the ways ordinary objects become witnesses to human connection. The middle space of travel, that in-between of comings and goings, becomes a space of longing, labor, and tenderness. Kaye O’Yek

Catchments | October 7 - 28, 2023 Catchments Jim Orencio October 7 - 28, 2023 DSC02780.JPG 1/5 View Catalogue Video Press Release Catchments In his latest solo exhibition, Catchments, Jim Orencio invites us into a mesmerizing world where the delicate balance of nature is not just observed but celebrated. Presented by Art Cube, Orencio’s collection breathes life into the canvas, weaving an intricate tapestry of the Arboretum at the Pintô Art Museum. The term “catchments” is not merely a title but a poetic revelation. Defined as areas where rainwater is collected and stored, the term finds its roots in gardening and ecology. In the context of Orencio's exhibition, Catchments symbolizes the inherent significance of water sources in nurturing life. It is a nod to the intricate ecological processes where water serves as a lifeline for the flora and fauna, emphasizing the interconnectedness of all living things. Orencio’s artistic gaze is once again fixed upon the Arboretum of the Pintô Art Museum. Through his brush, he unveils the arboretum’s hidden corners, demonstrating how it serves as an endless wellspring of inspiration. The paintings, adorned with a vividly atmospheric mood, transport the audience into the heart of nature, capturing the essence of the arboretum's diverse and ever-changing landscape. The artist masterfully illustrates the dynamism of nature, especially in areas enriched by water sources. These catchments, depicted with an almost ethereal quality, act as the beating heart of the ecosystem. In Orencio’s world, nature is not a static tableau; it is a living, breathing entity that evolves with each passing moment. Water, as a recurring motif, becomes a symbol of life and transformation, nourishing the environment. Reflecting on his connection with the Arboretum, Orencio shares, “I must say it’s the closest paradise I can be in to learn about nurturing life.” This sentiment transcends the canvas, echoing the artist’s profound connection with the environment. Through his paintings, Orencio doesn't merely capture scenes but becomes a steward of nature, a witness to its vitality and a student of its wisdom. His art, much like the catchments he portrays, becomes a vessel for understanding the delicate balance required for life to flourish. Jim Orencio emerges as a notable painter of nature, cultivating an awareness of its grandeur and beauty. In an era marred by environmental challenges, Orencio's work serves as a gentle reminder of our collective responsibility to protect and preserve the natural world. His paintings act as windows into the intricate dance of life, encouraging the audience to appreciate the subtle nuances of our environment and fostering a sense of urgency to safeguard it. Carlomar Arcangel Daoana Jim Orencio Jim Orencio (b. 1969) is a contemporary Filipino artist based in Antipolo City, Rizal, and has been active since the 1990s. He is best known in the Philippine art scene as a masterful artist of landscapes, a preference informed no less than by his formative years on Tablas Island, Romblon where he was living and farming with his grandparents. After a period of expatriate life and high school in Papua New Guinea, he took up Fine Arts at the University of the Philippines in Diliman, even as he joined the Antipolo-based group Salingpusa. With some members of this group, he established his studio at the Silangan Gardens (later to become the Pinto Art Museum) at the invitation of Dr. Joven Cuanang. Orencio held many of his initial solo and group exhibitions at the Silangan Gardens as well, choosing the environs as his subject. Boston Gallery in Quezon City also featured many of his exhibitions for the next three decades. His work has since diverged into abstraction, collage, and lyrical figurative paintings of Filipiniana but landscape painting has always been a constant. In recent years he especially emphasized the genre of landscape as an exemplary action parallel to his ecological advocacy, after acquiring forested property which he plans to turn into a sustainable farming unit while campaigning to preserve the forest and its river systems. Orencio’s work has been shown in various exhibitions both in the Philippines and abroad.

Hanap/Buhay | February 10, 2024 - March 2, 2024 Hanap/Buhay Elmer Borlongan February 10, 2024 - March 2, 2024 1/7 View Catalogue Video Press Release Hanap/Buhay In his latest exhibition, Hanap/Buhay, Elmer Borlongan masterfully captures the essence of honest labor, paying homage to those who toil closest to nature, the very source of our sustenance. The seven works act as individual or group depictions of workers in various trades, celebrating the dignity inherent in the daily lives of those who, though unsung, tirelessly put food on our plates, despite the threats of globalization and shifting socio-political terrains. Borlongan’s profound connection to Zambales manifests in works that are set against the backdrop of its shores, seas, and sky as well as its landscape with a view of the Pundaquit mountains. In two separate paintings, fishermen proudly present their bountiful catch—the dorado and the majestic blue marlin. The vivid portrayal, with the long tail and snout of the marlin balanced on a stick, captures the symbiotic relationship between man and nature. The solidarity of farmers is eloquently depicted in their shared pose, carrying bags of rice grain. Borlongan chose to paint them as larger-than-life, monumental, emphasizing their essential role in our food chain, reminding us of the interconnectedness of our lives with those who work the land. A different set of farmers, this time in a pineapple plantation, is depicted in a large-scale painting, with the conveyor belt diagonally cutting across the field, as the heads of pineapples rattle and tumble about. From backdrops of nature, a shift to an urban setting introduces a vendor selling street food, reaching out for a coin as payment, or perhaps proffering it as sukli, or change. The viewer assumes the role of the buyer, subtly underscoring the shared human experience of hunger and the satisfaction that comes with satiation. Borlongan’s brushstrokes capture the color, heft, and texture of the different types of street food, from fishballs to siomai in a stick. Because of Borlongan’s choice to situate his subjects within the broader context of the West Philippine Sea, the paintings, while exuding a sense of serenity, shine a spotlight on the precarious nature of the labor, especially that of our fishermen as they navigate not just the unpredictable waters but also geopolitical challenges. The encroachment by foreign powers driving our fishermen from waters that are well within our Exclusive Economic Zone while pillaging the sea’s resources adds a layer of complexity to the narrative of paintings. The artist urges us to reflect on the importance of supporting local industries in our pursuit of food sustainability, as the very livelihoods depicted in his works face threats from beyond the horizon. Hanap/Buhay testifies to Borlongan'ss ability to capture the essential humanity that is endowed on each and everyone of us, particularly those in the margins of society, the so-called laylayan where part of our population still labors hard to escape. Through Borlongan’s remarkable style and sensibility, the exhibition invites viewers to appreciate the dignity of work while urging us to contemplate the delicate balance between man, nature, and forces—inside and outside our shores—that shape our shared future. Carlomar Arcangel Daoana

Reset | August 2 - 30, 2025 Reset Kris Gavino August 2 - 30, 2025 DSC01850.JPG 1/5 View Catalogue Video Press Release In Reset, Kris Gavino charts a liminal space where time loses its tyranny—where the past no longer haunts, and the future no longer threatens. What remains is the present: fragile, vivid, suspended like a breath held between sleep and waking. Gavino’s latest suite of paintings contemplates time not as a sequence but as a felt experience, subjective and shifting, folded in on itself by memory, imagination, and desire. Here, time is not kept by calendars or clocks, but by the human body—its weariness, its need for stillness, its quiet rituals of renewal. In “Rejuvenation,” a slumbering figure lies between worlds, cradled by a landscape that seems less inhabited than dreamed. The borders between body and ground blur, as if sleep itself were a threshold where the interior self dissolves into the elements. The atmosphere is one of silence, solitude, and that elusive sense of repose that arrives only when we surrender the need to measure or control. Gavino punctuates these soft, introspective settings with the image of a clock—an object made for personal timekeeping, capable of being rewound, reset. Set against imagined terrains, the watch becomes a poignant marker of human presence: minuscule in the face of geologic time, yet insistently ticking. How absurd, the works seem to ask, to frame the ancient earth with our fleeting concerns. And yet, how deeply human to try. In “Silence Between Thoughts,” a quiet self-portrait begins to fade into the landscape, as though the figure were not placed upon nature but made of it. There is no drama in the dissolution, only a steady, graceful yielding—a reminder that all things, including the self, are subject to erosion. The title evokes the ephemeral space between mental noise, where clarity sometimes blooms: not in assertion, but in the pause. Gavino writes, “Perspective is subjective. Having vision without sight may lead us to rely on the other senses, at times can be overwhelming. It is foolish to run the risk of going mad for sanity’s sake. Rest becomes more costly the more we need it... Ultimately, there will come an event where life will hit the reset button.” That “reset” may arrive suddenly or slowly, as a rupture or as grace. Either way, Reset invites us to meet it—not with resistance, but with awareness. To dwell, if only briefly, in a space outside of time. To listen for the silence. To rest. And perhaps, in doing so, to begin again. - Carlomar Arcangel Daoana

OBSKVRA | March 9 -30, 2024 OBSKVRA Pinggot Zulueta March 9 -30, 2024 1/6 View Catalogue Video Press Release OBSKVRA “In the dark times, will there also be singing? Yes, there will also be singing. About the dark times.” -Bertolt Brecht In a world cloaked in darkness, the artist Pinggot Zulueta wields his ink pen as both a lamentation and invocation. In his solo exhibition of new works, Obskvra, the artist presents ten artworks that resonate with a powerful blend of artistic vision, social critique, and exhortation. Obskvra is the fifth in a series of artworks by Pinggot Zulueta, which focuses on the existentiality of the human condition, his philosophical contemplations, and our infinite potential for survival. In 2016, his exhibition ‘Incepto’ had provided entry into the sublime thoughts of the artist’s soul. A year later, in ‘Ka.thar.sis’, his thoughtful reflection on alienation and solitude within unfamiliar environments was the central theme. In 2020, ‘Melankolia’ delved on understanding the inner self to achieve a sense of connection and harmony with one’s past. In 2022, ‘Infinitum’ accentuated an intense awareness of mortality, while urging viewers to make deliberate choices on what is truly important. The artist has excelled in various forms of art and within his works there is a wide range of genres and styles. His art dignifies his experience and universalizes it through a medium that dives deeply under the surface. The artist combines surrealistic elements and visually stunning images where black predominates over all colors. His use of symbols combined with intricate details and textures has produced artworks that are both haunting and beautiful. The choice of a more dispassionate and sober mode of expression, using ink pen and paper, is not unrelated to his inner struggle in the service of which his artworks are made. “My artistic process is characterized by the balance between a visual expression of what I see as well as personal influences. As an approach, repetitive layering using ink pen on paper continues until I feel a sense of harmony exists between the physical components and the evocative aspects of my artworks. I generate ideas through the artistic process itself. The unpredictable nature of layering – each step is a reaction to the one before - is a constant building up of an image and tearing it down. The more layers are added, the more thought provoking the artwork becomes. This artistic process is also a metaphor for how I have been shaped by what I have experienced. “ The artist’s works tend to be dark and almost monochrome save for the use of dramatic highlights – and present their subjects as fundamentally ungraspable and, inevitably, remain out of reach. His art is not about creating beautiful or enjoyable objects, nor is it about producing a pleasurable experience to delight the viewers. His artworks are designed to do quite the opposite – to cause us discomfort, to make us uneasy, or to make us feel the anguish and burden of existence. In Obskvra, the tension between the artist’s imagination and the overriding obligation to present the truth characterizes his works. His artworks convey darkness, mystery, and chaos. These are an extension of the artist’s subconscious which reveals what we already intimately know. He uses surreal symbols to depict the ideas and institutions, or temples of humanism, that our future has been invested in. The icons from which we drew our strengths now appear as esoteric characters, atrophied from within and turned into empty shells. His artworks have become an archival tool for resistance, a survival kit of imagination to retrieve and reclaim what has been lost. The exhibition is packed with artistic explorations – the central showcase, a four-panel piece, displays the artist’s skillful use of ink to produce a detailed and intricate image that conveys a sense of unease and psychological tension. ‘Hereditas (Legacy)’ presents the ‘weight of the world’ which is symbolized by a colossal stone eclipsing the innocent visage of Infanta Margarita, echoing Velasquez's timeless portrayal. The black backdrop signifies the present, enveloped in the shadow of our choices. Amidst the decay of Earth, the artwork challenges viewers to confront the legacy we bequeath to future generations – a poignant reflection on the responsibility to unveil a sustainable and hopeful future for our grandchildren and the next generation. The artist brings to our attention images that invoke a sense of urgency, if not in content, then invariably, in context. Faced with the fragmented and haunting elements of our past and present, how then do we construct a future? ‘Earthkeeper’ depicts a veiled woman standing amidst a mystical landscape. Her long dress symbolizes rootedness and the heart at her core radiates universal love, while the blackish cloud formation behind signifies the complexities of her earthly stewardship. This artwork is a visual ode to a transcendent guardianship of our shared home. This artwork reminds us that the ecological disaster worsens daily and yet the world remains distracted by politics that trade on setting up division, hatred, and fear. ‘Allegory of Rapture’ captures a poignant moment where an angel statue, symbolizing divine presence, rests against a dark foreground. The looming cumulus clouds suggest an impending event, or an imminent divine presence. This juxtaposition of celestial and sombre elements symbolizes the delicate juncture between the ephemeral and eternal. This artwork delves into the transient nature of humanity and contemplates questions surrounding our finite existence. In it, the dark landscape looms, as so often, a visual image truly speaks louder than words. Art invokes something in the human spirit that bolsters the soul in the toughest times and gives some sense of peace and purpose. The artist incorporates this idea into his work. He challenges viewers to consider other possibilities and to make alternatives happen. He invokes viewers to see the world differently and to adapt to wider perspectives beyond their own fears and anxieties. Bertolt Brecht put it powerfully: Art is not a mirror held up to society, but a hammer with which to shape it. In the darkest of times, art is not an indulgence. It is a mark of our deepest humanity and is essential. It is a way of undermining constrained perspectives, restoring hope, forging a sense of resilience, and asserting our humanity. The darkness of the world may not be our fault, but to light up the world is our existential duty. To cure the ills of society is too much to ask for any art or artist. But when a body of work – because it comes from a place of truth and universality – can reflect the horrors of the moment we live in, then it is incumbent upon us to give it serious attention. We cannot afford to overlook an ‘oeuvre’ as timely as this. V E Zulueta Pinggot Zulueta PINGGOT ZULUETA is a visual artist, editorial cartoonist and photographer. Since 1983, he has been joining art exhibitions here and abroad. He has presented 10 solo shows, including Tilamsik (1985), Asinta (2002), Aotearoa Series in New York (2005), Makatulog Ka Pa Kaya - with Poetry by Nationall Artist Virgilio Almario aka Rio Alma (2013) and Infinitum (2022). His artwork had been featured in the 2014 Langkawi Art Biennale in Malaysia. In 2015 and 2018, he produced a couple of coffee table books, about Filipino Contemporary artists entitled, Filipino Artists in Their Studios I and II. He graduated from the University of Santo Tomas with a degree in Fine Arts, Major in Painting.

Promete | November 8 - 29, 2025 Promete Iggy Rodriguez November 8 - 29, 2025 DSC08554.webp 1/4 View Catalogue Video Press Release Wretchedness precedes a promise. In burning silences where hope festers, heads are bowed and palms clenched up to oblivious skies. Promete expounds on perplexities of desperate longing, of frenzied clutching in lieu of tangible progress. Promete -- to promise – harks back to Rodriguez’s Chavacano roots, to growing up in Zamboanga City where both societal status and religion cut a gaping divide that only distance and introspection divulge. The exhibit is, in a sense, the artist’s self-scrutiny; methodical pen and brush strokes are a form of desperate worship as much as they are of systematic condemnation. The Politics of Longing Rodriguez’s meticulous pen and ink details painstakingly capture the cacotopia of faith in “Garden of Unearthly Desires,” a candidly Boschian rendition of the grotesque spectacle of devotion where the manufactured idea of paradise is matched in idiocy by resulting exhibitions of reverence. Veneration is a performance as much as infallibility is a farce. In this obscene landscape, the unmovable taunt with contrived indifference. The destitute kneel in the belief that suffering is a prerequisite to dangled salvation, their fervent faith sustaining the powerful. Uncertainty blooms in a morphology of writhing limbs in “Dance of the Anguished,” where the symphony of misery is dehumanized bythe logic of geometry: it is as painful as it is expected. But faith largely relies on myths of deliverance and therefore balks under the gravity of unfulfilled promises in “Weight of the Wind,” for the responsibility of belief falls on those who contort, just as the idea of rain rests on the ardent hope of those who dance. Known for his brand of social realism that centers on the absurdity of human existence eternally trapped in nuances of politics and power, Rodriguez traverses murky silences in dynamics of society– the promisor blunders as the hopeful squirm in the agony of waiting. In works from the ‘Asa’ series, postures of yearning are inevitably trapped in the inanity of desire. This series of semi-sculptural pen and ink drawings from the artist’s collection probes the sanctity of devotion in the grip of futility. The Paradox of Self As the canvases smolder with red-orange undertones, questions arise and disturb: are the quiet seething rather than cowering? Are the mighty paralyzed rather than supine? Identity dissolves into hollow patterns in “Anonymous II” as bodies become fragmented puzzles in search of coherence. But it is precisely in these fissures of despair that the will to assemble persists, albeit muted by doubt. Hesitance is confused for anticipation. In contemplating nightmarish dystopias, Rodriguez scrutinizes structures of dominance held captive by their own authority. Unyielding horsemen in “Monumental Entropy” epitomize architectures of empires that attempt to merge but melt with their own weight – grandeur blooms with decay as corporations dissolve but refuse to crumble. Turmoil, thus, is not exclusive to the powerless. Adam, a parable of possession, is entangled in an unsettling mix of manic triumph and delusion in “Inheritance of the First Man,” perforce wearing his arrogant, idiotic grin, eternally trapped in his own hubris. Presupposed wisdom is an insult as the powerful eternally fumble. Eminence offers no reprieve. In the unforgiving dichotomy of dominion and desolation, empires have none to plead to but their own fragility. “Petition of the Unmoved” embodies society ensnared by its own systems. It is a testament to the realization of vulnerabilities, and a contemplation of the ironies of its own existence: jagged monoliths pierce through and take control as thought is wryly debased in a contemptible figure bloated by its own consumption. The infallible kneels and prays for its own salvation. Promete invites the viewer to relish in both reverence and disillusionment, and to ponder contradictions in the rhetoric of absurdity. Geometric rigidity intersperses with quivering bodies as the indestructible feigns complacence. In Rodriguez’s persistent interrogations of societal systems and politics of the self, the sacrosanct is as steadfast as it is weary. Piya Constantino

Your Mouth Has A Mind Of Its Own | June 8 - 29, 2024 Your Mouth Has A Mind Of Its Own Lindslee June 8 - 29, 2024 1/11 View Catalogue Video Press Release "Your Mouth has a Mind of Its Own" is an exhibition that explores the intricate layers of Filipino mentality, ideology, belief, culture, and tradition. Through this body of work, I aim to reveal the pervasive influence of superstitious beliefs and religion on the collective psyche. My intention is to illustrate how these elements often precede rational thought, leading to instinctual, sometimes detrimental, responses. At the heart of this exhibition is a series of sculptures and mixed media pieces that delve into typical Filipino beliefs. The first piece, "Tulak ng Dibdib, Kabig ng Bibig," features a human figure—a gaunt alcoholic man adorned with religious tattoos. Perched on his head is a taxidermy bird, symbolizing misguided strength and ego. Created with polyresin, textile, and oil paint, this work embodies the notion that superstitions can dominate and control one’s mindset and beliefs. Another work in a 3D representation of a janitor fish titled "Mahuhuli Ka Sa Bibig." Molded and cast in resin, the fish swims in a substance resembling mud, juxtaposing the traditional koi fish paintings believed to bring luck and prosperity against the reality of polluted Philippine lakes where only janitor fish thrive. This artwork highlights the disparity between expectations and reality. Additionally, the exhibition features a religious piece titled "Nasa Dyos Ang Gawa," portraying an ostensibly invisible figure of Jesus on the cross, covered in bird droppings with 2 taxidermy sparrows perched on top. The figure, cast in water-soluble materials and later dissolved to appear invisible, is symbolized by the resin bird droppings that define its presence. This piece critiques the belief that faith alone can save believers from a dystopian reality. Another piece, "Art for the Sick," presents an upscale version of the SkyFlakes biscuit, a food associated with recovery from ailments like alcohol hangover, food poisoning or diabetes. This work comments on the consumption of art as a means of feeling better about oneself, reflecting on art’s role in personal and societal healing. The remaining works in the exhibition are three-dimensional acrylic paintings on canvas, appearing as hyper-realistic sculptures. These pieces depict food items such as a cake, "Maligayang Araw," an over-prepared spaghetti in a tub, "Ubos Ubos Biyaya," and an empty plate eaten off by a starving man, "Anong Ulam?" They employ unconventional painting techniques to achieve a sculptural effect, representing the Filipino culture of celebration—emphasizing visual abundance despite limited resources, as people prepare excessive food to please their guests. Through "Your Mouth has a Mind of Its Own," I invite viewers to reflect on the impact of deeply ingrained beliefs and to question the instinctual responses shaped by superstition and religion. This exhibition calls for confronting the disparity between appearance and reality, urging a deeper understanding of the cultural forces at play. -Lindslee

An Abstract Voyage Edwin Martinez August 5, 2023 Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image Add a Title Describe your image 1/12 Of Uncertain Passages An Abstract Voyage reflects on the complexities of life's journey and the significance of introspection. Contemplating past decisions and missed opportunities, Edwin Martinez acknowledges the fickleness and unreliability of the human mind. The artist emphasizes the importance of rest as an essential component of learning from failures. We are often too quick to bounce back without taking the time to reflect on our experiences, yet this is imperative if we are to survive. The artist seemingly aims to capture the cycle of failure, respite, and redemption that is an inherent part of the human experience. Through the depiction of a cycle of continuously falling down and getting back up, Martinez’ works illustrate that failure is not always negative; it is an integral aspect of life. When faced with failure, one must compose oneself and prepare for what lies ahead. Falling into Earth, an astronaut, a lonely soul floating about in the cosmos, finds the comforts of home within reach: a plant, a pillow, a chair, even a steadfast companion serves as accessories and accompaniments in a convoluted journey. The pieces in the exhibition signify that following a period of rest and reflection, the future may hold uncertainty, excitement, and perhaps even fear. However, with adequate preparation and unwavering courage, progress is likely to follow. The astronaut serves as a representation of ourselves, the artist, and the viewers, symbolizing the need to confront life's challenges fearlessly and survive falling and failing with resilience. It is being lost as we find the meaning behind our existence in the world, the universe, rather, and never getting tired of finding our own way. An Abstract Voyage encourages viewers to embrace the uncertainties of life, understanding that falling is not to be feared. Perhaps a straight-edged, well-planned navigation through human years is less exciting than losing oneself in unexpected adventures. What truly matters is the ability to endure and prepare for whatever life presents, maintaining a steadfast determination to face its burdens and challenges head-on. Martinez also draws on Blaise Pascal’s quote, “Men seek rest in a struggle against difficulties; and when they have conquered these, rest becomes insufferable,” which explores the paradoxical nature of human desires and the quest for contentment. The famed mathematician and philosopher observes that individuals, when faced with difficulties, exert effort to overcome them, hoping that achieving this conquest will bring them a sense of tranquility and ease. However, Pascal also notes that once these individuals successfully surmount their difficulties and attain the desired rest, they surprisingly find it insufferable or unbearable. This suggests that the very state of rest they yearned for and worked hard to obtain becomes dissatisfying for them. Martinez, through his works, reminds us that human nature tends to thrive on challenges and the process of conquering obstacles. Struggles, however we wish to avoid them, undeniably give us a sense of purpose and direction. They give us reasons to move forward and continue fighting the good fight. Without struggle, a feeling of emptiness or a lack of purpose ensues, no longer having something to strive for or a goal to pursue. Often, it tethers us to reality and to being human, siting our bodies within the wider expanse of space. Comfort is good, yet it is discomfort that coaxes us to propel ourselves forward. Kaye O’Yek 1/1

Sa Dalampasigan ng Daluyong at Dalangin | September 21 - October 5, 2024 Sa Dalampasigan ng Daluyong at Dalangin Jeho Bitancor September 21 - October 5, 2024 1/8 View Catalogue Video Press Release In his poignant homecoming exhibition Sa Dalampasigan ng Daluyong at Dalangin, Jeho Bitancor presents a lyrical collection of works that pays tribute to the resilient fisherfolk of the Philippines. These individuals, whose labor is both dignified and vital, are set against the presence of a foreign power threatening their livelihoods as well as the country’s sovereignty. This exhibition, while capturing the physical toil of these fisherfolk, also bring to fore the broader struggles they face in asserting their right to survive. Bitancor’s works unfold on canvases that highlight the beauty and majesty of the sea. Breathtaking skies and ever-changing waters serve as both a source of sustenance and a looming threat to the people who depend on it. Through a visual language rooted in Social Realism, Bitancor depicts fisherfolk engaged in their daily tasks—hauling their catch, sorting the fishes, or braving the open seas both in calm and tumultuous conditions. Long-limbed, physically expressive, their faces resolute, the figures exude a quiet heroism. The artist’s deep connection to his subject matter is evident in the evocative details of each piece. Having grown up in a coastal town in Baler, Aurora Province, Bitancor’s personal experiences with the sea are deeply imprinted in his art. Recalling the “Subasko” storms of his childhood and a perilous experience when a small banca he was riding in capsized, Bitancor intimately understands the risks that fishermen face every day. These memories, which form part of who he is, permeate the works. This exhibition is not simply an ode to the sea or those who navigate its waters. It also exposes the anxieties and the indeterminacies brought about by geopolitical issues. The waters that have long sustained the fisherfolk—affirmed by a resolution by the United Nations Convention on the Law of the Sea as rightfully ours—are now contested by a foreign power with expansionist ambitions. Bitancor’s paintings, while steeped in maritime traditions, are timely and urgent, reflecting the current reality of the Philippines with its regard to its territorial identity. Jeho Bitancor’s paintings serve as love letters to his country, that despite having lived and worked in the United States, his tender affinities lie with the archipelago, particularly with the people “with the sunburst limbs in tattered clothes, with the squinted eyes and calloused hands, with the forward thrust of weary bodies in heroic stance.” Through these works, the artist invites us to establish our solidarity with our fisherfolk, extol our waters and their bounties, and remain committed in asserting our sovereignty. -Carlomar Arcangel Daoana