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ART | EXHIBITION
Outside of work, she wears several creative hats as an illustrator, printmaker, photographer, and potter among her other interests. Her multi-medium practice is deeply rooted in taking a critical view on feminist issues, often referencing the struggle of the Filipino female.
2023 Exhibitions:
October - November: WOMEN REFRAMED goes to Singapore @Kult Gallery
March - April: Play within a box: Women Reframed at NCCA, Intramuros
f(RAG)m(E)nt room
Installation Art, 19 pieces, Stoneware clay + decals
Inspired by rage rooms/fragment rooms, like Tacsiapo (a fragment froom is a safe space for you to get rid of your inner frustrations, where we can vent out all our frustrations or rage), I created my own version where I put a series of client comments pertaining to women or women’s bodies over the years (from my own experience, at least). The plates that were ‘thrown’ against the wall look like they’re stuck on the walls and the ceramic pieces did not really break after being thrown out. This installation art was inspired by my own guilt of just ‘letting things go’ and not really allow myself to have that ‘release’ of rage. The deformed cloth-like form of the ceramic wall pieces signified being “pressed”, pressed until immobilized.
But as the days go by, the deformed plates attached on the wall were able to hold themselves together and the pieces still remained in their respective positions. This has given a whole new meaning to the artist. This signified tolerance, resiliency, and strength; the pieces are deformed yet unbroken. It didn’t represent fragmentation for the artist anymore, but it represented change. Despite the many challenges one have faced, these hurdles did not break the person – but these have made the person stronger and more aware of the things that she should acknowledge and call out.
Inspired by rage rooms/fragment rooms, like Tacsiapo (a fragment froom is a safe space for you to get rid of your inner frustrations, where we can vent out all our frustrations or rage), I created my own version where I put a series of client comments pertaining to women or women’s bodies over the years (from my own experience, at least). The plates that were ‘thrown’ against the wall look like they’re stuck on the walls and the ceramic pieces did not really break after being thrown out. This installation art was inspired by my own guilt of just ‘letting things go’ and not really allow myself to have that ‘release’ of rage. The deformed cloth-like form of the ceramic wall pieces signified being “pressed”, pressed until immobilized.
But as the days go by, the deformed plates attached on the wall were able to hold themselves together and the pieces still remained in their respective positions. This has given a whole new meaning to the artist. This signified tolerance, resiliency, and strength; the pieces are deformed yet unbroken. It didn’t represent fragmentation for the artist anymore, but it represented change. Despite the many challenges one have faced, these hurdles did not break the person – but these have made the person stronger and more aware of the things that she should acknowledge and call out.
STRIP
Installation Art, 8x24 inches x 21 panels, wood carving + printmaking setup
The female is the emblem of commercialism, most products are sold using the female body. In advertising, when one writes a casting brief that involves a female as the main character, most of the characteristics of these women usually sound the same (e.g. Normal, able-bodied, caring, heteronormative, slim, dainty, and the list goes on). Even afterwards, the images still get heavily edited, sometimes we use different sets of hands, or some parts of the body that would fit the composition of the key visual. Printmaking is an art form that involved transferring images from one carved surface to another, usually to paper or fabric. I used printmaking as my medium to represent the art of reproducing and to connect printmaking as a means to mass produce, especially during the industrial revolution, where in merchants have to mass-produce or create multiples for their packaging to sell.
This series is a critique of how we choose different parts of women’s bodies to fit the brief. Given the ability to create many similar forms with slight nuances in size and shape, the metaphor of multiples within the female form as a concept lends itself well to printmaking.
The female is the emblem of commercialism, most products are sold using the female body. In advertising, when one writes a casting brief that involves a female as the main character, most of the characteristics of these women usually sound the same (e.g. Normal, able-bodied, caring, heteronormative, slim, dainty, and the list goes on). Even afterwards, the images still get heavily edited, sometimes we use different sets of hands, or some parts of the body that would fit the composition of the key visual. Printmaking is an art form that involved transferring images from one carved surface to another, usually to paper or fabric. I used printmaking as my medium to represent the art of reproducing and to connect printmaking as a means to mass produce, especially during the industrial revolution, where in merchants have to mass-produce or create multiples for their packaging to sell.
This series is a critique of how we choose different parts of women’s bodies to fit the brief. Given the ability to create many similar forms with slight nuances in size and shape, the metaphor of multiples within the female form as a concept lends itself well to printmaking.
THE FEMALE MOULD
12 pieces, Hand-building ceramics
I interviewed other women and they opened up to me about their body issues, frustrations as daughters in Filipino households, about themselves. Part of the art process is to liberate these women by making them write about themselves and listening to themselves fully for
the first time. And this was the result of the interview/the art process. Entitled “The Female Mould”, I created ceramic water cups that are shaped into different body types of women, only showing the chest area up to the crotch area through hand building ceramics. I created different body types of the female, including the ʻotheredʼ; it is a postmodern feminist take on the female body – the womanʼs identity is not the cup itself, but the liquid in it, socially constructed and susceptible to change. The appropriation of womenʼs bodies is increasing; more women are empowering other women. We are starting to break that ʻidealʼ mould in the society. Given the ability to create many similar forms with slight nuances in size and shape, the metaphor of multiples within the female form as a concept lends itself well to clay work.
I interviewed other women and they opened up to me about their body issues, frustrations as daughters in Filipino households, about themselves. Part of the art process is to liberate these women by making them write about themselves and listening to themselves fully for
the first time. And this was the result of the interview/the art process. Entitled “The Female Mould”, I created ceramic water cups that are shaped into different body types of women, only showing the chest area up to the crotch area through hand building ceramics. I created different body types of the female, including the ʻotheredʼ; it is a postmodern feminist take on the female body – the womanʼs identity is not the cup itself, but the liquid in it, socially constructed and susceptible to change. The appropriation of womenʼs bodies is increasing; more women are empowering other women. We are starting to break that ʻidealʼ mould in the society. Given the ability to create many similar forms with slight nuances in size and shape, the metaphor of multiples within the female form as a concept lends itself well to clay work.
TASA: SITIO KULE
19 pieces, Ceramic Slip + hand building techniques
TASA: SITIO KULE — Greens, blues, curves. The Tasa took inspiration from Sitio Kule, a lush village of indigenous coffee farmers in T’Boli, South Cotabato.
TASA: SITIO KULE — A collaboration by The Dream Coffee, and Tricia Salonga
TASA: SITIO KULE — Greens, blues, curves. The Tasa took inspiration from Sitio Kule, a lush village of indigenous coffee farmers in T’Boli, South Cotabato.
TASA: SITIO KULE — A collaboration by The Dream Coffee, and Tricia Salonga
FLICK(HER)
Acrylic on 3.5 x 3.5 ft Circular plywood + Clear Cast Resin
This art piece is a critique on the societal views of female masturbation or female sexuality, especially in the Philippine context. Using a bigger version of a phenakistoscope, which is considered the earliest form of a GIF, the artist wants to show the frame-by-frame visualization of the stimulated female genatilia.The act of a woman being in touch with her body, being in touch with her sexuality and owning it – can be an act of defiance of oppression.
This art piece is a critique on the societal views of female masturbation or female sexuality, especially in the Philippine context. Using a bigger version of a phenakistoscope, which is considered the earliest form of a GIF, the artist wants to show the frame-by-frame visualization of the stimulated female genatilia.The act of a woman being in touch with her body, being in touch with her sexuality and owning it – can be an act of defiance of oppression.
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