Randy Gawwi’s (b. 1983 in Banaue, Ifugao) massive installations mimic organic forms in nature. Even his process derives from following the natural bends and shapes of the wood, the bamboo, or the rattan he uses. He is also a painter, a builder, and a woodcarver. Working across different media, he prints and hand-paints T-shirts, designs and makes lamps, and carves and welds sculptures. His installations and mixed media paintings have been exhibited in galleries and site-specific spaces in different parts of the Philippines.  

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Randy Gawwi grew up with a woodcarver for a father. When he began his own art practice, he was mentored by Baguio artists like Rene Aquitania and Kidlat Tahimik. He took a break from art practice and worked overseas in building sites for a few years. He has since returned and continues to prolifically make work, beginning with interactive installations. He has exhibited in local art spaces and festivals including the Pamana Art Exhibition: In Celebration of the Indigenous Peoples Month (2016) and Last Order (2017) at the Victor Oteyza Community Art Space in Baguio City, the Entacool Baguio Creative Festival (2018, Baguio City), the Ibagiw Creative City Festival (2020, Baguio City), and the Sos-owa: A Prayer Ritual (2020, Sagada, Mountain Province). The latter participation includes restoration work on the Santiago Bose Mural at the Saint Mary’s School in Sagada, Mountain Province. 

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Dehon Taguyungon (b. 1989, Hungduan, Ifugao) says that his sculptures and relief works are dreamlike and autobiographical. He comes from an Ifugao community known for its woodcarvers, where at 16, he took up the chisel and mallet and studied the craft from his neighbors, carving figures sold as souvenirs. In 2011, he took up Fine Arts at the University of the Philippines-Baguio. 

In the making of an object, he often begins an idea by studying the natural shape of a piece of found wood before incorporating a playful gesture. His imagery is as much a part of his personal history as it is of his community, interpreting creation stories, lores from his elders, and local mythology. But much of it is endeared with humor such as in his figure of a sleeping bulol (traditional human-like figures originally made to purge illness and for protection from ills) carved with a torso resembling a Ginebra gin bottle.

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Gail Vicente (b. 1984, Quezon City) is an artist working in painting, assemblage, sculpture, embroidery and text. Her practice contemplates the essence of everyday objects within domestic and communal spaces. Through her intermedia approach, she reimagines the deeply layered histories of found objects, imbuing them with renewed meanings and values. After relocating to Baguio in 2020, she began exploring local materials and practices interwoven with the textures and rhythms of the mountainous landscape.

Her background in archiving and art conservation informs her broader practice as an artist, in which her works become objects of reinterpretation, reflecting her ongoing engagement with language, materiality and objecthood. From 2007 to 2009, Vicente served as a researcher for The Roberto Chabet Archive, a project dedicated to archiving the body of work of pioneering Filipino conceptual artist Roberto Chabet. For more than a decade, she worked as a conservator, collections manager, and archivist at the non-profit art organization King Kong Art Projects Unlimited.  In 2019, Vicente was awarded a grant from the Asian Cultural Council to conduct research on art conservation and archiving in New York. She completed training in conservation, particularly in the mediums of paper and painting. 

She co-founded artist-run initiatives, including Project 20 in Manila and the online platform for Cordillera-based artists, No Space

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