Maria Isabel Gaudinez-Aquilizan (b. 1965, Manila) and Alfredo Juan Aquilizan (b. 1962, Cagayan Valley, the Philippines) have lived and worked in Brisbane Australia since 2006. The artists have worked collaboratively for over a decade and their projects use the processes of collecting and collaborating to express ideas of migration, family, home, and memory. Often working with local communities, the Aquilizans bring together personal items and found objects to compose elaborate, formal installations reflecting individual experiences of dislocation and change. They have also used the materials of migration such as packing boxes, referencing the Philippine tradition of the Balikbayan. They have been selected for large exhibitions internationally, including the Havana Biennale (1997, 2000), the Asia-Pacific Triennial, Brisbane (1999 & 2009), 50th Venice Biennale (Zones of Urgency, 2003), Biennale of Sydney (2006); the Echigo-Tsumari Triennale in Japan (2006), Singapore Biennale (2008), Adelaide Biennial (2008); the Liverpool Biennal in the UK (2010), the 5th Moscow Biennale of Contemporary Art and the Sharjah Biennale in the United Arab Emirates (2013), among others. They have also exhibited in numerous international institutions, such as the Singapore Art Museum, the Cultural Center of the Philippines, the Sherman Contemporary Art Foundation (SCAF) in Sydney, Australia, Asian Arts Museum in Fukuoka, Japan, the 21st Century Museum in Kanazawa, Japan, and more.

Annie Cabigting (born in 1971) majored in Painting at the University of the Philippines. She has been publicly exhibiting her works since 2001. Her first solo exhibition, “100 pieces” (2005), was shown in Finale Art File’s space in SM Megamall, Mandaluyong. She is a recipient of the Ateneo Art Awards and her work was included in the Prague Biennale in Czechoslovakia. Her works have been exhibited in galleries and art fairs in Metro Manila, Antipolo, Singapore, Hong Kong, Kuala Lumpur, Jakarta, Tokyo, Berlin, Basel, Madrid, Beirut, and Milan.

Her work, which ranges from painting to installation, is known for questioning what constitutes art: the various aspects of producing, looking and privileging visual images throughout history. Her subject matter involves people viewing art. They highlight the importance of the viewer to an artwork, for they determine whether the object is an artwork. She paints these paintings in a photorealist style.

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Bea Camacho (b. 1983, Manila, Philippines) is a visual artist who works in installation, performance, and video. She received her B.A. in Visual and Environmental Studies from Harvard University, where she was awarded the Albert Alcalay Prize for Outstanding work in Studio Art and the David McCord Prize for Achievement in the Arts. 

She is a recipient of the Thirteen Artists Award from the Cultural Center of the Philippines. She was also selected as an exhibiting artist for the 2006 Asian Contemporary Art Week in New York City and for the 2009 International Women Artists Biennale in Incheon, Korea. Recently, her exhibition at MO_Space, Memento Obliviscere, was shortlisted for the Ateneo Art Awards 2018.

Her work has been exhibited in galleries internationally, including the Japan Society (New York), Osage Gallery (Hong Kong and Singapore), Ikkan Art Gallery (Singapore), Valentine Willie Fine Arts (Kuala Lumpur and Manila), Silverlens (Manila), Finale Gallery (Manila), MO_Space (Manila), and Green Papaya Art Projects (Manila). She has also shown her work in institutions including the Cultural Center of the Philippines, National Museum of the Philippines, Metropolitan Museum of Manila, Museum of Contemporary Art and Design in Manila, the Musee d'Art Moderne in St. Etienne, Kyoto Art Center, Hangaram Museum, EuGon Museum of Photography, Triennale di Milano Design Museum, Queens Museum of Art, Institute of Contemporary Art in Boston and the Tate Modern.

Bembol dela Cruz (b. 1976) has been publicly exhibiting his photo realistic paintings since 2000, increasingly engaging the concept of tattoos and other objects as surface, skin and sign. He studied Fine Arts at the University of the Philippines Diliman from 1998 to 2002.

His first solo exhibition, The History of Things, was shown in 2006 and has been followed by successive one-man shows ever since like Handmade Violence (Manila) at Finale Art File and Markings 1:16 at Richard Koh Fine Art, Kuala Lumpur, Malaysia. He also had various group exhibitions such as Lost In The Crowd: Contemporary Figuration at Manila Contemporary, Tones of Home at Blanc Gallery, and I love Painting and Painting loves me at Finale Art File.

In 2011, Dela Cruz bagged one of the top three slots at the 8th Ateneo Art Awards and received an artist residency and exhibition grant at the Liverpool Hope University and the Cornerstone Gallery in the United Kingdom. The following year, he received two other residency grants from the Berkshire Residency Exchange in West Massachusetts and the Art OMI International Artists Residency in Ghent, New York.

Bernardo Pacquing (b. 1967, Tarlac) currently lives in Parañaque City. He studied Editorial Design from the University of the Philippines College of Fine Arts. In 1999, he won the Grand Prize from the Art Association of the Philippines for an Open Art Competition (Painting Non-Representational), and was a recipient of the Cultural Center of the Philippines’ Thirteen Artists Award in 2000. In the same year, he was also given the Freeman Fellowship Grant at Vermont Studio Center in Vermont. Pacquing has shown in both solo and group exhibitions at various local and international venues such as Manila Contemporary, La Salle College of the Arts in Singapore, Osage Gallery Hong Kong, TAKSU Singapore, and Silverlens Gallery.

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Brian Sergio (b. 1980) is a Photographer, Painter, and Graphic Designer. He studied painting at the University of the Philippines College of Fine Arts in 2002. Trained as a painter and a conceptual artist, he had a few local group exhibitions between 2000 to 2008 and worked as a Graphic Designer and Art Director in a couple of advertising firms, before deciding to focus on Photography full-time. His solo exhibitions as a photographer includes ‘Pak!’ (2014) at Galerie Astra, in Makati and ‘Kidultery’ (2011) at West Gallery in Quezon City, Philippines.

Sergio's work has often been described as raw, transgressive, and irreverent. His method has always been about energy and movement; taking a gamble, getting involved, and going with the flow without diffidence.

In 2017, he released his 1st book called "Pak" published by Dienacht Publishing. The book was based on a collective rebellion against inhibitions and acceptable behavior, an attempt to expose the world behind the façade that most Filipinos aspire to.

Sergio currently lives and works in Manila, Philippines.

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Costantino Zicarelli (b. 1984, Kuwait, lives and works in Manila) spent his formative years in Italy and later moved to the Philippines where he earned his Bachelor’s Degree in Fine Arts from the University of Santo Tomas. Working across installation, sculpture, drawing, and painting, he has had exhibitions in Manila, Singapore, Kuala Lumpur, Tromso, Sandes, and Brooklyn. He received the Cultural Center of the Philippines’ 13 Artists Award in 2012.

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Donna Miranda is a choreographer living and working in the Philippines. She studied Anthropology at the University of the Philippines and received specialized training in contemporary dance in Philippines and Europe. At the moment she is producing works that delimit the notion of the choreographic through critical engagements with the institutions of dance and the body working along the intersection between choreography, pubic health and policy. She makes a living as a development worker providing communication and advocacy support to an international NGO on public and reproductive health.

Englebert “eng” Chan (b. 1970, Manila) gained a bachelor's degree in Fine Arts, Major in Visual Communication. He won 2^nd place in the oil / acrylic category in Shell National Students Art Competition in 1992 and was the finalist of the Philip Morris Philippine Art Awards in 1995. Chan had his first solo exhibition in 1995 entitled Color My World in Ayala Museum. He also had solo exhibitions in De La Salle University Art Gallery, Gallery 139, Finale Art Gallery, and Jorge B. Vargas Museum. He also participated in group exhibitions since 1993 in the Cultural Center of the Philippines, Boston Gallery, The Junk Shop, SM Megamall Art Center, The Drawing Room Gallery, and Pintô Art Gallery to name some.

Enzo Camacho (b. 1985, Philippines) received his undergraduate degree from Harvard University and his Master’s degree in Fine Arts at the Hochschule fur bildende Kunste (HFBK) in Hamburg, Germany. He is known for collaborating with Amy Lien. In 2013, they received an Achievement Grand Award from the DAAD (German Academic Exchange Service)/Karl H. Ditze Stiftung HFBK, Germany. Recently in 2015, they participated in a six-month residency as artists/curators at Gluck 50 in Milan, Italy. They were also granted an artist-in-residence program from NTU Centre for Contemporary Art Singapore in November 2015.

His individual and collaborative work with Amy Lien has been included in group exhibitions at Bortolami Gallery (New York), Galerie Crone (Berlin), Mathew (Berlin), Green Papaya Art Projects (Quezon City, Philippines), Light and Space Contemporary (Quezon City, Philippines), LOST Projects (Marikina, Philippines) and the Jorge B. Vargas Museum (Quezon City, Philippines), among others. In 2011, they had solo exhibitions at 57 Canal (New York) and Republikha Art Gallery (Quezon City, Philippines), as well as a performance at the Museum of Modern Art (New York). In 2014, they had a collaborative show at 47 Canal, New York for the second time entitled Leak Light Time Heat. They also had a collaborative performance with Christian Najouks in the same year which was shown both in the Philippines and in Germany. It was entitled G-SPVK SPEAKS BITCHES ON ICE. Enzo Camacho and Amy Lien had recent collaborative exhibitions at Physics Room, New Zealand entitled Urban Aspiration and Not with nothing but. With nothing. held at Project Native Informant in London, UK. Both exhibitions were shown in 2015.

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EveryWhereWeShoot! is composed of Ryan Vergara and Garovs Garrovillo. Their moniker is not just the duo’s name but also a statement of intent, a manifesto of sorts in praise of the ambulant imagination and against any notions of the territorial pissings between making art (and making money). In their work, particularly in photography, they’ve resisted the delineation of spaces and not only places. Of course, the most significant elision would be between the two individuals themselves.

According to them, they were two kids who would meet up at a fast food joint near school, just to hang out. As a result, they ended up smitten not only with each other, but also with each other’s good taste. Both were obsessed with magazines and irony, and working together just happened naturally. They both trained under the College of St. Benilde’s Design & Arts department (Ryan was a Multimedia Arts major, Garovs, Fashion Design and Merchandising).

Since then, their work has appeared in almost every major magazine in the country as well as a number of publications abroad. They’ve also done commissions to do brand campaigns, record sleeves, and look for books for top Filipino designers.

Felix Bacolor (b. 1967) finished his BFA in Painting at the University of the Philippines College of Fine Arts. His works have been shown at different international galleries through solo and group exhibitions including, the Valentine Willie Fine Art Project Room, the Institute of Contemporary Arts Singapore, La Salle College of the Arts, Osage Gallery, Kwun Tong, Finale Art File, the Cultural Center of the Philippines, Galleria Duemila, and Artinformal.

Frank Callaghan (b. 1980, England) is a Manila-based artist working with photography. His work has been exhibited in Manila, Singapore, Japan, Hong Kong, France, Denmark, and the Unites States. He received the Ateneo Art Award in 2015 for Dead Ends, and was shortlisted for the same award in 2010 for Dwelling and in 2011 for River of Our Dreams. He holds a degree in Economics from the Wharton School of Business of the University of Pennsylvania.

Callaghan works almost exclusively at night, using long exposures to shoot in near darkness. He approaches photography as a language, and is interested in its ability to express ideas that words cannot. His practice explores the nature of photography and its mechanisms, like exposure and compression. For Callaghan, “A photograph is an exposure of a light sensitive material to light, that compresses form, line, colour and shadow to a flat surface. At the same time it can capture and compress energies of other kinds—energies of the artistic process, decisions, traces of memories, emotions, experience, gestures.” Callaghan works in series.

Gary-Ross Pastrana (b. 1977, Manila) received his Bachelor’s Degree in Painting from the University of the Philippines where he was a recipient of the Dominador Castañeda Award for Best Thesis. He was granted residency programs in Japan and Bangkok. Pastrana was awarded residencies in Japan and Bangkok, and received the Thirteen Artists Award from the Cultural Center of the Philippines (2006). He is one of the co-founders of Future Prospects Art Space (2005–2007), and has exhibited his work and curated shows both in his hometown and abroad, at galleries like Silverlens Singapore, Finale Art File, the Singapore Art Museum, the Metropolitan Museum of the Philippines, the Vargas Museum at the University of the Philippines, and has participated in Art Basel Hong Kong (2013), the New Museum Triennale in New York, USA (2012), the Aichi Triennale in Japan (2010) and the Busan Biennale in Korea (2008). Pastrana has also authored publications such as New Museum Triennial: The Ungovernables (USA) and Tomorrow, Today: Contemporary Art from the Singapore Art Museum 2009–2011, both published in 2012.

Gerardo Tan, also known as Gerry Tan, is a visual artist, curator, and art educator. He finished Bachelor of Fine Arts, Major in Painting, at the University of the Philippines (UP) Diliman College of Fine Arts (CFA) in 1982 and Masters of Fine Arts, Major in Painting, at the State University of New York at Buffalo in 1992 as a Fulbright Fellow. He was a professorial lecturer at UP CFA from 1993 to 2000 and the former dean of the University of the East College of Fine Arts from 2002 to 2005. Tan was awarded the Cultural Center of the Philippines Thirteen Artists Award in 1988.

As a conceptual artist, Tan explores the nature of art and how forms and materiality can be articulated in ideas and concepts, be it through painting, sculpture, found objects, artists books, or installations. Often referencing and revisiting his earlier work, Tan deals with aesthetic questions related to the reproducibility of images and the spatial and temporal authenticity of a work.

Tan has exhibited at the Cultural Center of the Philippines, Jorge B. Vargas Museum, Ateneo Art Gallery, Metropolitan Museum of Manila, and Lopez Museum, among many more institutions in the Philippines. He has participated in several international exhibitions such as the 2nd Asian Art Show in Fukuoka Museum, 1982, the 1st Melbourne Biennale,1999, the 4th Gwangju Biennale, 2002, and the inaugural exhibition of The National Gallery of Singapore, 2016. He continues to work with contemporary artists making up the Bastards of Misrepresentation that is curated by Manuel Ocampo, which has aggressively and independently been exhibiting since 2010 in Berlin, Germany, Queens New York, and Sete, France.

In 2022, his work was featured at the Philippine Pavilion of the 59th Venice Biennale entitled Milk of Dreams, curated by Yael Buencamino and Arvin Flores.

Gina Osterloh’s (b. 1973) photography, film, and performance based art work depicts mark-making and her own body traversing, tracing, and puncturing photographic space in a quest to interrogate the boundaries of a body and expand notions of identity. Osterloh’s printed photographs depict large scale photo tableaux environments as well as drawing on photo backdrop paper, that expand our understanding of portraiture and what photography can be. Symbolic themes and formal elements such as the void, orifice, and the grid, in addition to a heightened awareness of color and repetitive pattern appear throughout Osterloh’s oeuvre. Osterloh cites her experience of growing up mixed-race in Ohio as a set of formative experiences that led her to photography and larger questions of how a viewer perceives difference.

Solo exhibitions include PRESSURE/PLEASURE at Coco Hunday; ZONES at Silverlens; Gina Osterloh at Higher Pictures; Slice, Strike, Make an X, Prick! at François Ghebaly Gallery; Nothing to See Here There Never Was at Silverlens Gallery; Group Dynamic at Los Angeles Contemporary Exhibitions (LACE), and Anonymous Front at Yerba Buena Center for the Arts. Group exhibitions include Not Visual Noise at the Ateneo Art Gallery; Multiply, Identify, Her at the International Center of Photography in New York City, Ours is a City of Writers at the Barnsdall Los Angeles Municipal Art Gallery; Energy Charge: Connecting to Ana Mendieta at ASU Museum, Demolition Women curated by Commonwealth & Council at Chapman University and Fragments of the Unknowable Whole at the Urban Arts Space OSU. 

Osterloh’s work has been reviewed in The New Yorker, Art in America, The Brooklyn Rail, Contemporary Art Daily, Hyphen Magazine, Art Asia Pacific, Asian Art News, Art Papers, Artforum Critics Pick, Art Practical, and KCET Artbound Los Angeles. Awards include a Fulbright in the Philippines, a Woodstock Center of Photography residency, and a Create Cultivate Grant with the LA County Arts Commission and LACE. Gina Osterloh is an Assistant Professor in the Department of Art at The Ohio State University.

Graphic Airlines is an artist duo Tat and Vi, they have searching for a slice of sky to enjoy the journey of creative, since 2002.

They have exploring their unique aesthetics through with different ways, like graphic design, street art, painting, sculpture, installation, animation, crossing over different rims, eg: fashion, music, brands, school workshop, etc.

"Ar Fei” - The face with big cheeks which is their iconic character from Vi's street art, there is no specific form of "Ar Fei”, it keep changing as cloud.

Graphic Airlines have been exhibited all around the world, such as Paris, New York, Berlin, Tokyo, Shanghai, Taipei, and have collaborated with brands includes agnès b, SPORT b, Adidas, Nike, k11musea, etc.

A visual artist, musician, and a writer. ​As a painter, D’Bayan is obsessed with Old, Weird Filipinas: how historical events, pop culture, Internet hoaxes, current events and Pinoy horror movies converge on a Twilight Zone-like, Black Mirror-ish tropical gothic area.​He currently has a fascination with dioramas: turning a childhood memory into Pandora’s Boxes of reckoning and assorted deformities.

Jayson Oliveria (b. 1973) graduated with a Bachelor of Fine Arts in Painting at the University of the Philippines. He is a recipient of the Cultural Center of the Philippines Thirteen Artist Award (2006), and Ateneo Art Award (2004), and artist residencies at Big Sky Mind Artists Projects Foundation in Cubao (2003–2004) and at Tetra Art Space in Fukuoka, Japan (2005). Oliveria has shown widely in both local and international galleries, including Surrounded by Water, The Drawing Room, Finale Art File, Ark Galerie in Jakarta, the Tate Turbine Hall in London, Galerie Zimmermann Kratochwill in Austria, Artinformal, and Freies Museum Berlin, and VOLTA12 in Markthalle, Basel.

Jed Escueta graduated with a Bachelor of Fine Arts degree from the University of the Philippines. He was part of the Green Papaya Art Projects Residency Program Wednesdays Open Platform funded by Arts Network Asia Singapore in 2009. Escueta has participated in both solo and group exhibitions at Silverlens Gallery, Light and Space Contemporary, Osage Gallery in Hong Kong, Green Papaya Art Projects, Post Gallery, Photo Bangkok, Vinyl on Vinyl, and Art Dubai.

Jenifer K Wofford is a San Francisco artist and educator whose work investigates hybridity, history, calamity and global culture, often with a humorous bent. She is also 1/3 of the Filipina-American artist trio M.O.B.

Her work has been exhibited in the Bay Area at the Asian Art Museum, Berkeley Art Museum, Oakland Museum of California, YBCA, San Jose Museum of Art, Southern Exposure, and Kearny Street Workshop. Further afield, she has shown at New Image Art (Los Angeles), Wing Luke Museum (Seattle), DePaul Museum (Chicago), Silverlens Galleries (Philippines), VWFA (Malaysia), and Osage Gallery (Hong Kong).

Wofford is a recent recipient of the Joan Mitchell Foundation Painters and Sculptors Grant. Her other awards include the Eureka Fellowship, the Murphy Fellowship, and grants from the San Francisco Arts Commission, the Art Matters Foundation, and the Center for Cultural Innovation. She has also been artist-in-residence at The Living Room (Philippines), Liguria Study Center (Italy) and KinoKino (Norway).

Wofford teaches in the Fine Arts and Philippine Studies programs of the University of San Francisco. She has also taught at UC Berkeley, Mills College, SFAI, California College of the Arts and San Francisco State University. She holds degrees from the San Francisco Art Institute (BFA) and UC Berkeley (MFA).

Born in San Francisco and raised in Hong Kong, Dubai, Malaysia and the Bay Area, Wofford has also lived in Oakland and Prague in addition to San Francisco. A committed and active member of the Bay Area art community, Wofford currently serves as Vice President of the Board of Directors of Southern Exposure.

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Juan Alcazaren (b. 1960) is a sculptor, bricoleur, collagist and object maker who works with a wide variety of materials ranging from construction steel to industrial and household detritus to ubiquitous everyday things like plastic monoblock chairs, school supply materials and melaware plates. Everything is material to him. In the 90’s he learned steel welding from Napoleon Abueva, CCP National Artist for Sculpture and has since always come back to this medium attracted by the way steel only “knows” how it wants to be formed. He always maintains a patina of rust on his steel pieces to show earthly life’s steady march towards death.

He tries to coax profundity out the ephemeral and overlooked in the world of the permanent and covetable. Alcazaren’s faith informed sensibilities make him see humble material as a metaphor for our own material nature, being creatures created by the Uncreated one. Juan Alcazaren has a bachelor’s degree in Landscape Architecture and studied sculpture the University of the Philippines where he also was a lecturer in 1995 at the College of Fine Arts. He was conferred the CCP Thirteen Artists Award in 2000. He lives and works in Pasig City, Philippines and continues to actively exhibit in major galleries and art fairs in his home country and around the region.

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Kaloy Olavides graduated from the University of the Philippines (UP) with a Bachelor degree of Fine Arts. Aside from his visual arts practice, he has been doing production design for films, music videos, and audio visual presentations. He is the guitar and vocals for the bands Pastilan Dong! and Grows, and is also a member of the experimental sound collective, Elemento. Since 2012, Olavides has been teaching at De La Salle-College of Saint Benilde. He is a recipient of the Philippine Art Awards Juror’s Choice Award of Merit (2013), and the Cultural Center of the Philippines Thirteen Artists Award (2012). He has had solo exhibitions at several galleries including Green Papaya Art Projects, West Gallery, 856 G Gallery, and Light and Space Contemporary. He has also shown in group exhibitions at Osage Gallery Hong Kong, Osage Gallery Singapore, the Luggage Store Gallery in San Francisco, California, the Central Trak Gallery in Texas, Silverlens Gallery and Post Gallery.

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Painter and sculptor Louie Cordero began an active exhibiting career while pursuing his Bachelor of Fine Arts at the University of the Philippines. After graduating in 2001, he became a core member of the painting collective Surrounded by Water and artist-in-residence with the artist-run initiative Big Sky Mind. His work explored imagery and narratives at the nexus of Philippine Catholicism, politics, mass culture, mining the collective consciousness of the Pinoy everyman with a humorous edge. He won the Grand Prize (Painting), 8th Annual Freeman Foundation Vermont Studio Centre in 2002-3. In 2005, he co-founded Future Prospects alternative art space. He is the creator of Nardong Tae, the underground comics of cult status in the Philippines.

Fascinated with kitschy outsider aesthetics and colonial-era leftovers, acrylic has become Cordero's medium of choice in painting since 2005 as he turned towards the super-flat aesthetics of spray-painted Philippine jeepneys and other waning commercial art forms. He received the Cultural Centre of the Philippines 13 Artists Awards in 2006 and earlier. Solo exhibitions overseas include DELUBYO (Giant Robot, Los Angeles, 2008), Actuality/Virtuality (3 Sogoku Warehouse, Fukuoka, 2003), Soft Death (Osage, Hong Kong and Singapore, 2009) and Sacred Bones (Jonathan Levine Gallery, New York, 2010). The recent years display an intensity in the bricolage-method of image construction that takes us through a thrill ride through unbridled imaginations and rerouted libidos, coupled with awkward rendering and visionary courage. His work has been included in World of Painting, Heide Museum of Modern Art, Australia, 2008; Coffee, Cigarettes and Pad Thai, Eslite Gallery, Taipei, 2008; Singapore Biennale 2011; the 14th Jakarta Biennale, 2011; and PANORAMA, Singapore Art Museum, 2012.

Cordero’s puzzling, imploring, and visually striking juxtapositions are often punctuated by blood and gore, as if to imply the history of violence and bloodshed that his nation and people have sustained. Cordero’s artwork makes references to his native Philippines, a nation rich with diversity—the result of multiple changes in political regime and subjugation throughout its history. With a complex mixture of eastern and western influences, the cultural fabric of The Republic of The Philippines is a unique combination of ethnic heritage and traditions, composed of indigenous folklore, Asian customs and Spanish legacy reflective in the names and religion.

Figures from Filipino mythology and its strong oral tradition are referenced through the artist’s gruesome monsters and zombies, while another source of inspiration derived from his nationality involves the Jeepney (U.S. military vehicles abandoned after WWII, and converted by locals to use as public transportation). Each Jeepney, unique and elaborately decorated in vibrant colors, features an ornate mash-up of pop and religious iconography. By combining these elements, varied and obscure (to Westerners), with imagery appropriated from Cordero’s assorted interests including kitsch, Indian advertising, cult American b-movies, and pulp horror, the contrasting influences reflect the complex diversity of the artist’s heritage itself.

Lynyrd Paras (b. 1982) graduated with a Bachelor of Fine Arts degree in College of Architecture and Fine Arts in 2004 at the Technological University of the Philippines (TUP). He is a 13 Artists Awardee from the Cultural Center of the Philippines in 2018, won the 2^nd place in oil-based painting category at the Metrobank Art Design and Excellence in 2007, and an Honorable Mention at the Art Association of the Philippines Annual National Art Competition in 2005, to name some.

Paras had solo and group exhibitions in the Philippines, USA, Singapore, Japan, and Indonesia to name some.

Manuel Ocampo (b. 1965) is both an artist and curator. He studied at the University of the Philippines and at California State University in Bakersfield. Manuel Ocampo has received the Rome Prize in Visual Arts at the American Academy in Rome (1995–1996), the National Endowment for the Arts, Visual Arts (1996), and the Pollock-Krasner Foundation Grant (1995). In 2003, as he moved back to the Philippines, he co-founded the Department of Avant-Garde Clichés Gallery in Manila. Ocampo has curated exhibitions featuring Filipino artists at the Freies Museum Berlin, and the Musee International des Arts Modestes in France. He has also shown his own work at La Luz de Jesus Gallery in Los Angeles, the Marie Kirkegaard Gallery in Copenhagen, Tyler Rollins Fine Art in New York, USA, Finale Art File, The Drawing Room, the Crucible Gallery, and Ateneo Art Gallery, to name a few. He has also participated in international art events such as Documenta IX (1992), and the Venice Biennale (1993, 2001, 2017). Ocampo’s works can be found in various museums, and public collections around the globe, including the Museum of Contemporary Art in Los Angeles, the Oakland Museum in California, the Contemporary Museum in Hawaii, the Whitney Museum of American Art in New York, the Fukuoka Asian Art Museum in Japan, and at Museo Nacional Centro de Arte Reina Sofia in Madrid.

Marc Gaba lives and works in Manila, Philippines. He studied Creative Writing and graduated as Magna cum laude and Valedictorian at University of the Philippines - Diliman, and took up MFA with the same course in University of Iowa, USA.

Gaba’s art examines junctures of passages where meaning is configured as a site of response. While concentrated on oil painting, particularly "apertural" paintings, his practice encompasses installation, video, books and photography. His subjects have been as broad ranging, exploring public space, the Internet, Catholicism, antiterrorism, language, and abstraction itself.

Marc Gaba had numerous solo exhibitions such as Interiors at Art Informal, The Scandalous Happiness of Sitting Down at Krem Contemporary Art, and The Knowledge of Knowledge at Art Cabinet Philippines. He also received numerous awards such as being a Finalist on the Dorset Prize at Tupelo Press, USA, got the 2nd place on the Don Carlos Palanca Literary Award, and had the Venue Grant from the Cultural Center of the Philippines.

Maria Cruz (b. 1957, Manila) was recipient of the Portia Geach Portrait Prize (1997), the Ps1 International Studio Program, New York (2000–2001), the Australia Council Artist Development and Project Grant (1999, 2000–2001), the City of Hobart Contemporary Art Prize (2004), and the Karl Hofer Gesselschaft Residency, Berlin, Germany (2005), as well as residencies at the University of Woolongong (2008), and the Canberra Institute of the Arts (1989). She has lectured in different universities in Australia, including the Canberra School of Art, Australian National University, the Sydney School of Arts, University of Sydney, and the School of Contemporary Arts, University of Western Sydney.

Cruz has participated in solo and group exhibitions internationally, in galleries and institutions such as Galeria Duemila, Artinformal, MO_Space, Ateneo Art Gallery, the Metropolitan Museum of Manila, Cultural Center of the Philippines, the UTS Gallery University of Technology (Australia), the Kaliman Gallery (Australia)  Gertrude Contemporary Art Spaces (Australia), Galerie Droescher-Meyer (Germany), the Freies Museum (Germany), and the Mori Gallery in Sydney, among others.

Marija Vicente (b. 1988) is a visual artist living and working in Quezon City, Philippines. She graduated with a bachelor’s degree in Painting from the UP College of Fine Arts in 2011. She had an experience as an assistant of Louie Cordero in 2008, and is currently affiliated with an art and design collective, Broke, and Ganggo Painting Club.

Working primarily with oil paint, her dark yet colorful images appear to be avatars of the double mask of comedy and tragedy. She has been actively participating in group exhibitions since 2008 and has held seven solo exhibitions in Manila—at Mag:net Gallery, Finale Art File, West Gallery, Blanc Gallery, Project 20 artist-run space, and Kaida Contemporary.‍‍

In 2014, MO_Space represented her during the Art Fair Philippines for the I Object exhibition, and recently in January 2017, she became part of a three-woman show entitled Dark White Chakra which was exhibited at MO_Space until February.

Mawen Ong (b. 1964) is an artist and gallery director in Manila. She is a member of King Kong Art Projects Unlimited, an initiative dedicated to archiving and preserving the works of Roberto Chabet. She obtained 2 business degrees at St. Scholastica’s College and eventually studied Painting at the University of the Philippines - College of Fine Arts. She has been exhibiting since 2005 in both solo and group exhibitions at Future Prospects, Green Papaya Art Projects, West Gallery, Osage Gallery Hong Kong, the Cultural Center of the Philippines, Blanc Gallery, and Silverlens Manila, among others.

Micaela Benedicto is an architect, artist, and musician living and working in Manila. She set up the design firm MB Architecture Studio in 2007. The work of MB Architecture Studio places emphasis on thorough planning and form finding to achieve a distinct spatial quality, informed by site conditions in the tropical context and the project clients’ individual stories.

Benedicto’s art practice involves the construction of three-dimensional forms and the manipulation of materials in order to explore ideas of impermanence, memory and loss. Working across sculpture and the photogram method of photography, she creates forms and images that possess transformative properties and aim to engage the viewer’s perception. Her architecture and music backgrounds inform the language of her work in visual art, through the use of geometric form, sequence, and pattern. Her objective is to explore in architectonic form the combination of truth and individual imagination by which one constructs their perception of a structure, object, or image.

Michael Arcega is an interdisciplinary artist working primarily in sculpture and installation. His research-based work revolves largely around language and sociopolitical dynamics. Directly informed by Historic narratives, material significance, and geography, his subject matter deals with circumstances where power relations are unbalanced. His investigation of cultural markers are embedded in objects, food, architecture, visual lexicons, and vernacular languages.

Michael has a BFA from the San Francisco Art Institute and an MFA from Stanford University. His work has been exhibited at venues including the Asian Art Museum, Museum of Contemporary Art in San Diego, the de Young Museum in San Francisco, Yerba Buena Center for the Arts, the Orange County Museum of Art, The Contemporary Museum in Honolulu, the Museum of Fine Arts in Houston, Cue Arts Foundation, and the Asia Society in NY among many others.

Arcega’s work has been discussed in publications including Art Forum, the New York Times, Art Practical, Art News, X-TRA, SF Chronicle, Artweek, Art Papers, and Flash Art among others. He is a recipient of an Artadia grant, Joan Mitchell MFA Award, Murphy Cadogan Fine Arts Fellowship, among others. He has been an Artist in Residence at the 18th Street Art Center, Montalvo Arts Center, Headlands Center for the Arts, the Fountainhead Residency, Artadia Residency at ISCP, Bemis Center for Contemporary Art, Al Riwak Art Space in Bahrain, and the Recology Artist Residency Program. He was awarded a 2012 Guggenheim Fellowship in Fine Arts.

Michael was born in Manila, Philippines, and migrated to the Los Angeles area at ten years of age. He relocated to San Francisco to attend college. He currently lives and works in San Francisco, California where he is an Associate Professor at San Francisco State University.

Born in 1975 in Metro Manila, Mike Crisostomo is a visual artist who was admitted to the University of the Philippines Diliman’s Fine Arts program in 1998.

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He had his solo exhibition entitled Picture Not So Perfect at Blanc Gallery, Quezon City and he joined various group exhibitions at Finale Art File, MO_Space, National Museum, and at the Goliath Visual Space in Brooklyn, New York.

MM Yu (b. 1978) lives and works in Manila, Philippines. Her photographs evoke the ever-changing cultural texture and topology of Manila as seen through its inhabitants, the city’s infrastructure and its waste product as it archives not only the economy but also the ecology of life in the myriad forms it takes in the city. 

These recorded static scenarios show through their thematic variety the artist’s interest in discovering and valuing the fleeting moment present even in its simplest components. The diverse elements in her works not only underscore the inability of photography to account for fractured temporality. Through her ongoing interest in deciphering the enigma of the unseen landscape of ordinary things, they also force us to rethink what our minds already know and rediscover what our eyes have already seen.

The impact lies in how photography is employed to investigate another subject namely that of memory. By consolidating a series of routine snapshots traversing the streets of Manila. The hybrid and density of MM Yu’s subjects remind us of how objects and signs are not necessarily self-contained but take part in larger systems of interaction.

MM Yu received her BFA Painting from the University of the Philippines and completed residencies with Big Sky Mind, Manila (2003), Common Room Bandung Residency Grant and Cité Internationale des Arts in Paris, France (2013). She is a recipient of the Cultural Center of the Philippines 13 Artist Award (2009), the Goethe Institute Workshop Grant (2014), and the Ateneo Art Awards (winner in 2007, shortlisted in 2011). She was also a finalist for the Sovereign Asian Art Prize (2010).

Norberto Roldan (b. 1953, Roxas City) is a multimedia artist. He graduated with a Bachelor of Arts in Philosophy from the St. Pius X Seminary, a Bachelor of Fine Arts in Visual Communications from the University of Santo Tomas, Manila, and a Masters in Art studies at the University of the Philippines Diliman. Roldan is currently the artistic director of Green Papaya Art Projects, an alternative multidisciplinary platform which he co-founded in 2000. 

He has represented the Philippines in various international exhibitions in Asia-Pacific, Europe, and the USA. He was represented in three landmark surveys of Southeast Asian contemporary art, including New Art from Southeast Asia by the Fukuoka Asian Art Museum (1992), Negotiating Home History and Nation: Two Decades of Contemporary Art in Southeast Asia 1991–2011 by the Singapore Art Museum and most recently, No Country: Contemporary Art For South / Southeast Asia by the Solomon R. Guggenheim Museum in New York (2013). His works are included in collections worldwide, such as those of the Solomon R. Guggenheim Museum, the Fukuoka Asian Art Museum, the Singapore Art Museum, the Deutsche Bank, the Banko Sentral ng Pilipinas, the San Miguel Corporation, the Ateneo Art Gallery, the Bencab Museum, the Carlos Oppen Cojuangco Foundation, the Artour Holdings Singapore, to name a few.

Pardo de Leon’s paintings are reminiscent of the style of the old European Masters, and she is known for her distinctive style of painting marked by a ‘sense of line, gesture, and touch.’ Belonging to a generation of painters whose works are mainly based on found photographic imagery, de Leon approaches painting both intuitively and methodically. Working adeptly in both abstraction and figuration, she confronts conventions in painting through the juxtaposition of images, the layering of different forms and motifs, or by zooming in on particular aspects and details of the subject.

Pardo de Leon graduated with a degree in Painting from the UP College of Fine Arts in 1987. She was a recipient of the CCP Thirteen Artists Award in 1988. She also received a studio residency grant from the Italian-Swedish Cultural Foundation in Venice, Italy in 1999, which was awarded the best show of the year by the state council. De Leon has had numerous solo and group exhibitions at various galleries and museums including the Cultural Center of the Philippines, Finale Art File, MO_Space, Blanc Gallery, Manila Contemporary, Valentine Willie Fine Art, and the Institute of Contemporary Art – La Salle College of the Arts. She currently lives and works in Baguio City.

Poklong Anading’s (b. 1975, Manila, Philippines) practice utilizes a wide range of media from drawing, painting, video, installation, photography and object-making. Taking a more process-oriented and conceptual approach, his continuing inquiry takes off from issues on self-reflexivity, both of himself and others, and site-specificity in an ongoing discussion about society, time and territory.

He earned a Bachelor of Fine Arts (BFA) in painting from the College of Fine Arts, University of the Philippines (1999). He completed residencies with Big Sky Mind, Manila, Philippines (2003 to 2004), Common Room, Bandung, Indonesia (2008), Bangkok University Gallery, Thailand (2013), Selasar Sunaryo Art Space, Bandung, Indonesia (2013), Philippine Art Residency Program - Alliance Francaise de Manille in Cite Internationale des Arts, Paris, Centre Intermondes, La Rochelle in France (2014) and das weisse haus, Vienna Austria (2018). He had solo exhibitions in Galerie Zimmermann Kratochwill, Graz, Austria (2010, 2012 and 2020), Taro Nasu in Japan and Athr Gallery in Jeddah (2016), 1335MABINI in Manila, Philippines (2013, 2015, 2017, and 2019). He has been included in notable group exhibitions such as: Gwangju Biennial, South Korea (2002 and 2012), No Country: Contemporary Art for South and Southeast Asia, the first exhibition of the Guggenheim UBS Map Global Art Initiative in New York, Hong Kong and Singapore (2013 to 2014), 5th Asian Art Biennial: Artist Making Movement, National Taiwan Museum of Fine Arts, Taiwan (2015), The Shadow Never Lies, Minsheng Art Museum, Shanghai, Afterwork, Para Site, Hong Kong, China and in the Architecture Biennale for the 15th International Architecture Exhibition, Philippine Pavilion: Muhon: Traces of an Adolescent City at Palazzo Mora, Venice, Italy (2016), disco nap, ‘We Didn’t Mean To Break It (But It’s Ok, We Can Fix It), Galeria Pedro Cera, Lisbon, Portugal (2019), Far Away But Strangely Familiar’, Danubiana Museum, Bratislava, Slovakia (2019), Normal scheduling will resume shortly, Cultural Center of the Philippines, Manila (2019) and Arts in Common Artjog MMXIX, Jogya Nationa Museum, Jogyakarta, Indonesia (2019),

Anading lives and works in Manila.

Pow Martinez (b. 1983, Manila, Philippines; lives and works in Manila) is a Filipino artist known for his expressionistic style of painting, blending bold colors with demonic, mutant-like characters to create compelling canvases. Often resembling a beautiful nightmare, Martinez combines the mundanities of everyday life with elements of pop culture, resulting in darkly humorous works depicting society’s overconsumption.

Martinez is a recipient of the 2010 Ateneo Art Award for his exhibition 1 Billion Years at West Gallery, Philippines. He exhibits internationally and has worked with different media, from painting to sound.

His recent exhibitions include State of Flux (2023) at Silverlens New York; City Prince/sses (2019) at Palais de Tokyo in Paris; Art Jakarta 2019 with Silverlens and ROH Projects; 50 Years in Hollywood (2019) at Pinto Art Museum in New York; Art Basel Hong Kong 2019 with Silverlens; WXXX (2019), West Gallery, Manila. Martinez has also held a number of solo shows in major galleries in Manila, the most recent of which is Clunker (2022) at Silverlens Manila. Early in 2022,Martinez had his first solo exhibition in Madrid entitled Underground SpiritualUnit at Galeria Yusto/ Giner. In 2018, he had a solo exhibition in Indonesia. Titled Aesthetic Police, the exhibition is an outcome of his month-long residency program at OPQRStudio in Bandung.

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Raena Abella is an artist who is currently focused on a series ranging from landscapes to the human form, and is pushing the boundaries of her art through alternative photographic processes, such as the wet-collodion process. Her work as an operations manager for a construction company and her training as a diesel engine mechanic also inform her unique artistic vision and narratives. She has exhibited in solo and group shows in Artinformal, Blanc Gallery, West Gallery, Finale Art File, and Underground gallery to name some. Artinformal also presented her works during ALT Philippines 2020.

Rembrandt Vocalan (b. 1976) is an emerging Filipino artist working primarily in printmaking, video art, film, and fine art photography, exploring these medias to new possibilities. Often employs bold warm colors, dark and light contrast and folk art imagery in a graphic manner. Filming stories and images that harkens back to the time of his culture and history.

Rico Maria Ilarde (son of Philippine TV and radio personality, Eddie Ilarde) was born and bred in Metro Manila; early education in De La Salle, in Greenhills; majored in Film at the California College of Arts and Crafts in Oakland, California; spent the summer at the USC / Universal Studios film program.

He has worked as an independent filmmaker in one sense—he has directed at least three features (his first, and his two latest) without the resources of a mainstream Filipino film studio behind him. Ilarde started out a problematic figure—unique in that he had the resources and determination to write and direct his own feature film, same time said film, free to express everything about anything, did little more than express his love for and desire to emulate ’70s and ’80s Hollywood action pictures. Afterwards, he entered a period of what one might call indentured servitude, producing two genre horror features for Lily Monteverde’s Regal Films.
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A filmmaker evolves, his art evolves, and Ilarde with his hard-won experience in both independent and studio filmmaking finally broke free from the limitations of both with digital filmmaking—finally found himself, in effect, thanks to the digicam. Sa Ilalim ng Cogon follows Bordwell’s definition of the art cinema in several important respects—heightened realism (less extravagant fight sequences or gore), greater ambiguity (Ilarde using silence and ambient sound to create a sense of mystery), a personalised protagonist (Sam is a closer approximation of the director than his more gregarious, outwardly ‘mestizo’ forebears).

Roberto Chabet (1937–2013) was a pioneering Filipino conceptual artist, curator, and teacher. Known for his experimental works, ranging from paintings, drawings, collages, sculptures, and installations made out of mostly ordinary and found material, Chabet insists on a more inclusive approach to art. In his works, abstraction and the everyday collide, creating spaces for new meanings.

Chabet was the founding Museum Director of the Cultural Center of the Philippines (CCP) where he initiated the Thirteen Artists Awards in 1970 to support young artists whose works show “recentness and a turning away from the past.” After his brief tenure at the CCP, he led the alternative artist group Shop 6, and taught for over thirty years at the University of the Philippines, College of Fine Arts and at key artist-run spaces in Manila. Since the 70s until his death in 2013, he supported and curated exhibitions of young Filipino artists.

Chabet is the recipient of the JD Rockefeller III Fund Grant (1967–1968), the Republic Cultural Heritage Award (1972), the Araw ng Maynila Award for the Visual Arts (1972), and the CCP Centennial Award of Honours for the Arts (1998). He was posthumously awarded the Gawad CCP Para Sa Sining in 2015.

Robert Langenegger (b. 1983, St. Gallen, Switzerland) lives and works in Manila, Philippines. His art has deliberately gone against moral conformity and academic technique, using images as carnivalesque allegory.

Taking up Fine Arts at UP Diliman and Kalayaan College, Langenegger first exhibited his paintings at the artist-run space Big Sky Mind in 2003. By 2008, he was cited as one of the finalists for the Sovereign Art Prize. During that same year his one-man show Irish Bull of the Mother and Child, held at Finale Art File in 2007, was shortlisted for the Ateneo Art Awards. Soon after, his show at MO_Space, ONLY DOG CAN JUDGE ME, was also shortlisted for the Ateneo Art Awards in 2018. His works have been shown in various art galleries in Manila, Malaysia, Australia, Austria, Germany and New York. Through the years, he had various solo exhibitions in both local and international galleries such as Finale Art File in the Philippines and Galerie Zimmermann Kratochwill in Graz, Austria. He participated in group exhibitions as well that showed at Artesan Gallery (Singapore) and Goliath Visual Space in Brooklyn (New York), to name some.

Romeo Lee is an artist and musician known as “the king of punk” and the “ukay-ukay king,” having gained a reputation since his student days in the University of the Philippines in the 1980s. An artist for over three decades, he has shown in both solo and group exhibitions in various spaces locally and internationally, including West Gallery, Manila Contemporary, Mag:net Gallery, NOVA Gallery, Vinyl on Vinyl, Finale Art File, Crucible Gallery, the Cultural Center of the Philippines, the Fries Museum in Berlin, and the Musee International des Arts Modestes in Sete, France.

Sam Kiyoumarsi (b. 1980, Quezon City) is a Filipino-Iranian photographer. He works for different local publications and multimedia outfits. Kiyoumarsi was shortlisted for the Ateneo Art Awards (2011). He has exhibited in solo and group exhibitions internationally, including Lost Projects, West Gallery, Silverlens Gallery, Light and Space Contemporary, VOLTA 6 in Basel, Osage Hong Kong, and the Cultural Center of the Philippines.

Soler Santos (b. 1960) attended the University of the Philippines (UP) College of Fine Arts from 1978-82. He is a painter and photographer. Santos founded West Gallery with his wife and fellow artist, Mona Santos, in 1989.

Santos has represented the Philippines in international events such as the 1st ASEAN Youth Painting and Workshop in Thailand (1983), the 2nd Asian Art Show in Japan (1985), and the 11th International Biennial Print and Drawing Exhibition at National Taiwan Museum of Fine Arts (2004). He is the recipient of the First Prize from the ASEAN Painting Competition (1983) and the Cultural Center of the Philippines Thirteen Artists Award (1992).

Santos has shown in both solo and group exhibitions at spaces including the Luz Gallery, Blanc Gallery, Silverlens Galleries, Finale Art File, MO_Space, Artinformal, the Hong Kong Arts Centre, the ICA La Salle College of the Arts, the Metropolitan Museum of Manila, and the Cultural Center of the Philippines.

Stephanie Syjuco works in photography, sculpture, and installation, moving from handmade and craft-inspired mediums to digital editing and archive excavations. Recently, she has focused on how photography and image-based processes are implicated in the construction of racialized, exclusionary narratives of history and citizenship. Born in the Philippines, she is the recipient of a Guggenheim Fellowship and has exhibited widely, including at The Museum of Modern Art, the Whitney Museum, and the San Francisco Museum of Modern Art, among others. She is an Associate Professor at the University of California, Berkeley, and resides in Oakland, California.

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Tim Brown is a visual artist who received his BFA from Kansas University and his Masters of Fine Arts from the University of California Santa Barbara. As an individual artist, he works as an installation artist, sculptor and cartoonist who has shown in Los Angeles, Houston, Austin, Manila, Chicago, and Kansas City. He has been teaching at the collegiate level since 2015, holding positions at the Kansas City Art Institute, University of Missouri Kansas City, and Johnson County Community College. 

He works as a sculptor using materials such as found wood, architectural glass, plastic wrap, office-variety acrylic diffusors, and clamp lights with party bulbs. Brown uses a variety of elements that are combined in a variety of ways to create environments for the viewer. His sculptural work continues to be concerned with elements of the Light & Space movement combined with the materiality of Arte Povera. It uses inexpensive lighting effects and common materials to create mystical and otherworldly environments.

In 2006, Brown co-founded Okay Mountain, an artist collective and gallery in Austin, Texas. Since the inception of the gallery, which produced over fifty exhibitions in its five years of existence, the collective has shown as an art making entity in  New York, Los Angeles, Mexico City, Houston, and Miami, Florida. In  2009, Okay Mountain won the Pulse Prize and the People's Choice award at the Pulse Art Fair during Art Basel, Miami. The collective is represented by Mark Moore Projects in Culver City, CA.

In his spare time, he leads the Austin-based shoegaze rock band The Hidden Persuaders.

Valerie Carla Dizon (1984, Manila, Philippines) makes drawings, paintings and photos. Graduated with a degree in Fine Arts Major in Painting, her drawings sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. 

Dizon had joined numerous group exhibitions held at prestigious art galleries in Metro Manila, including a fund-raising exhibit at the University of Santo Tomas Hospital. She currently lives in Rome, Italy.

Veronica Peralejo (b. 1989) majored in painting and graduated with honors from the University of the Philippines College of Fine Arts in 2010. But she quickly shifted to 3D creations, as seen in her installation pieces for her first solo exhibit in 2015 at Art Informal—Pocket Universe, which was shortlisted for the Ateneo Art Awards. She created sculptures of the microscopic images of parasites, cells, and other miniscule details. Peralejo also uses other materials, such as yarn, plastic tubes, speaker wires, and clotheslines for her works.

Victor Balanon (b. 1972, Manila) graduated from the University of the East with a degree in Dental Medicine and in Fine Arts, with a major in Advertising. A self-taught artist, he later pursued film and animation at the Mowelfund Film Institute in Manila, where he produced two short animated films. Balanon was part of the seminal art collective, Surrounded by Water. He has since participated in various solo and group shows at galleries such as Blanc Gallery, Silverlens Gallery, Secret Fresh Gallery, Lightbombs Contemporary in Hong Kong, Artesan Gallery in Singapore, Mind Set Art Center in Taipei, The Luggage Store Gallery in San Francisco, Finale Art File, Osage Gallery Hong Kong, Artinformal, House of Matahati in Malaysia, and Akibatamabi21, 3331 Arts Chiyoda in Japan, to name a few.

Wawi Navarroza is a Filipino contemporary artist using photography, actively exhibiting in the Philippines and internationally. Her images delve into Self and Surrounding as seen in her works in constructed tableaus, self-portraits and contemporary landscape.  The artist is interested in investigating displacements, disorientation and discovery, all perhaps to mirror a path to understanding a deeper sense of place & identity. 

She has exhibited widely in the Philippines and internationally, including National Museum of the Philippines, Metropolitan Museum of Manila, Singapore Art Museum 8Q, Hangaram Museum, Korea, National Museum of Fine Arts, Taichung, and Fries Museum of Contemporary Art, Museum Belvedere, Netherlands, and in festivals and art fairs such as Art Basel HK.

Navarroza has received a number of awards such as the Asian Cultural Council Fellowship Grant New York, Cultural Center of the Philippines’ Thirteen Artists Awards, Ateneo Art Awards, Lumi Photographic Art Awards Helsinki, and finalist for Singapore Museum Signature Art Prize, WMA Commission Hong Kong and Sovereign Asian Art Prize 2018.

Her art has been surveyed in books such as “Photography Today" (Phaidon) “Contemporary Photography in Asia” (Prestel) and “Photography in South East Asia” by Zuang Wubin (NUS Press). Navarroza has been a strong proponent of the printed format as an extension of artistic work and with this, has published two books “DOMINION” and “Hunt & Gather, Terraria”, launched respectively at Offprint Paris and PS1MoMA. In 2015, she founded Thousandfold, a contemporary photography platform and the first photobook library in Manila, with Thousandfold Small Press as its publishing arm. As an educator, she gives periodic workshops and is a recognized speaker to photography talks, reviews, and conferences in the Philippines and the Pacific.

Navarroza is a graduate of Communications Arts at De La Salle University, Manila. Shortly after, she received continuing education at the International Center of Photography in New York City. In the past few years, she has been based in Spain where she completed her Masters scholarship award for Master Europeo de Fotografía de Autor at Istituto Europeo di Design, Madrid. 

Currently, she lives and works in Manila. She also sings for the rock band The Late Isabel.

WeeWillDoodle (est. 2007) is a group of artists deeply in love with the power of the doodle. This artist collective believes in, respects and harnesses the raw power of spontaneous ideas to capture it on different media: on paper, plastic, walls, your bare buttocks -- you name 'em and they’ll draw on it.

The collective was formed as a break from their corporate lives. It has always been a way for them to express themselves freely by random lines and characters. Doodling is the first step for them in creating a final artwork. It starts from traditional line art or a painting and may finish digitally. WeeWillDoodle loves the performance aspect to it that they have strived to perfect it through their camaraderie and uniformity, which can be manifested through strokes and lines. Weewilldoodle is not an individual. It is a group, sometimes a movement which tells that all of them can CREATE and COLLABORATE.

Wire Tuazon (b. 1973) is an artist and curator. He graduated from the University of the Philippines Diliman with a Bachelor’s degree in Fine Arts, Major in Painting. He is the founder of the artist collective Surrounded by Water in the 1990s, and was the President, and now Adviser, for the Neo-Angono Artists Collective. He was a recipient of the Cultural Center of the Philippines Thirteen Artists Award (2003), the Sangguniang Bayan Award for Visual Arts, and the residency grant of the Ashiya City Museum of Art and History from the Japan Foundation Asia Center (2001). 

Tuazon has participated in international exhibitions in Milan, Beijing, Singapore, and Hong Kong, as well as locally, at events like the Tupada International Visual Performance Festival (2005, 2009), Art Stage Singapore (2015), and at spaces such as the Cultural Center of the Philippines, Silverlens Gallery, Pinto Art Gallery, and Finale Art File, Artesan Gallery + Studio, and Osage Hong Kong, to name a few. 

Yason Banal (b. 1972, Philippines) is an artist whose work moves between photography, video, installation, text and performance, exploring myriad forms and conceptual strategies in order to research and experiment with associations and refractions among seemingly divergent systems. He obtained a BA in Film at the University of the Philippines, an MFA in Fine Art at Goldsmiths-University of London, residencies at the Rijksakademie in Amsterdam and AIT in Tokyo, and visiting lectureships at London Metropolitan University and Tokyo National University of Fine Arts. 

Banal’s work-in-progress is inspired by a conceptual astronomy around abstraction and document, ranging from Jose Rizal’s transglobal coordination and Isabelo Delos Reyes’ experimental archive amidst 19th century politics and anti-imperialist imagination, to possible contemporary coordinates in supernatural reality TV, lo-fi internet culture, geomarket forces and neo-migrant formalism. His work attempts to explore hidden meanings and associations through action led interventions. His works often place viewers and participants in vulnerable situations in order to trigger psychological experiences or memories. One such project, The Legend of the Sleepwalking Tricks, involved a group of young men who listened to death metal music while sipping milk laced with sleeping pills. Banal treads a thin line between illusion and reality, and a more serious threshold between passive consumption of art and violation of ethical taboos.

His works have been shown at the Tate, Frieze Art Fair, IFA Berlin, Oslo Kunsthall, Singapore Biennale, Shanghai Biennale, Queens Museum of Art and Cultural Center of the Philippines. Upcoming projects include Bangkok Art and Culture Center (Bangkok), Museum of Contemporary Art and Design (Manila), Garage Museum of Contemporary Art (Moscow) and Queensland Museum of Art (Brisbane).

Yvonne Quisumbing is a multimedia artist based in Cebu. She is known in the fashion field–representing the Philippines at the Concours de Jeunes Creatur de Mode in Paris in 2001 and 2005; and with international awards that include: Japan Airlines Award in Makuhari Asian Fashion Competition, Osaka (1999); and grand prize in the Philippine Fashion and Design Competition for Apparel (2001) and Accessories (2005). She studied design, film and is currently taking her MFA. In her first solo show, Infernal Desire Machines (2005), the breadth of her skills is explored with a dynamic fusion of fashion, sculpture and painting to create wearable and interactive art.

Yvonne Quisumbing’s emergent is found in mobility. Wedged by high society on one side and a constructed “rural” idyll on another—a mapping of her usual movement reveals a defined pattern. The former (the center or Metro Manila) is where she attends to her fashion clientele; the latter is (the margins or her Cebu hometown) is where she designs and creates in her atelier. Inspired and critical of the spectacle that feeds her dominant, for which she is obliged to move back and forth, the artist found the in between itself as a necessary alternative space for recuperation.

In her narrative, the medium of paint and its attending long processes gives back the time lost in transit. This is the value of her art practice—in the pursuit of possibility/ies, with emphasis on uninterrupted temporal movement. Through a constant shuttling between her two work spaces due to demand and capital, Quisumbing has arrived at a realization that weight lies not in the commodity/finished product but in the continuing negotiation of value itself. This self-referentiality propels the artist to go beyond creating mere inspirations, detournements (parodies), et al, on her canvasses. Instead, Quisumbing’s paintings perform as thoughtful documentation and critique of a contemporary condition that reveals the instability of the image as mediator of social relationships, that ultimately comprise the spectacular/society wherein she operates.