• Ingrid Aimee: The Life of an Average Name Chronicles
• Simon Peñaflor: Behind the canvas: The Sad Clown Paradox.
• E-Diploma in Rec • How to Avoid Over-working Your Paintings
By Scott Maier
Advocate of Malayan Heritage in the Philippines - Tuanku Syarifah MARIETA NOR-AISHA P. MINDALANO-ADAM, H.D.
Published Quarterly
Our aim is to provide a venue for a healthy exchange of ideas on how to promote local arts and culture, while developing a sense of global competitiveness among local artists, masters and emerging alike.
Furthermore, FILARTS aims to create linkages with art and cultural organizations, private institutions and corporations which have programs for the promotion of culture and arts, community-based art associations and institutions, and government agencies, not only to get the necessary funding for its projects but also to promote camaraderie and unity among advocates of arts and culture.
Published Quarterly
Mark Shellshear
Arnaldo Mirasol
Writer/Contributor
Editorial and Satellite Business Office
Blk 4 Lot 13 A Gemini Street Cruzville Subd. Brgy. Kaligayahan Quezon City 1124
Email: filartspublishing @gmail.com
Ruth C. Espinosa Editor
Her exposure to the art scene started in her teenage years as she tagged along to her older brother's art shows and exhibits thereby learning to appreciate visual arts early on. She may not be blessed with an artist's talent or drawing skills, but she is more than happy and willing to work in the background extending a supportive hand through her writing.
Ingrid Aimee Peñaflor Head Writer
Art, for Ingrid, embodies boundless imagination across painting, writing, and sculpture. It's a seamless fusion of creativity in all forms. Each stroke, word, shaping reflects endless possibilities. In every medium, art becomes a heartfelt expression of limitless potential.
Roy C. Espinosa Creative Director
He is a visual artist and a cultural and art advocate. He is the founding president of The Filipinas Institute for the advancement of Arts and Culture (FILARTS), Inc., a nonprofit cultural institution that advances the rights and welfare of the Filipino artists and the preservation of the indigenous arts and culture in the Philippines.
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They Do It. by Mark Shellshear
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Ingrid Aimee: The Life of an Average A Healer of Wounds (A short story)
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How to avoid over working your paintings Scott Maier
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Behind the Canvas: The Sad Clown Paradox
Simon Peñaflor
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Experiencing the Magic of TOPS Artfest
Ingrid Aimee Peñaflor
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Cover Story
Dr. Renato Cheng Five Decades of Creative Mastery
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Work of Art and Mind
Safa Bute
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Advocate of Malayan Heritage in the Philippines
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E-Diploma in Residency Artist Program Yes - So MAD International School
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Gallery Brewed Cafe Where Art and Coffee craft a creative haven
Welcome to the latest issue of Southeast Asian Artists Magazine!
This edition is graced by the multifaceted Dr. Renato Cheng on the cover. A medical doctor who finds solace and expression in the art of painting, Dr. Cheng's journey beautifully embodies the intersection of science and art, showcasing the depth and versatility of his talents.
Dive into our feature article, "Behind the Canvas: The Sad Clown Paradox," exploring the hidden emotions and narratives that artists embed in their works. For those navigating the delicate balance of creating without overworking, our article on avoiding this common pitfall is a must-read.
Celebrate the vibrant art scene with a recap of the recently concluded TOPS Art Fair in Cebu, an event that brought together a rich tapestry of artists and enthusiasts. This issue also shines a spotlight on Nepali and Filipino artists, capturing the diversity and richness of their artistic expressions.
Safa Bute delves into the profound relationship between art and the mind in her insightful piece, while another article champions the preservation and celebration of Malayan heritage in the Philippines, underscoring the cultural significance that art holds.
Explore the exciting developments in Kuala Lumpur, Malaysia, with a feature on the artist residency program that fosters creativity and collaboration. Additionally, discover the newly opened Gallery Brewed Café in Robinsons Novaliches, where art and coffee converge to create a unique haven for creativity and inspiration.
Enjoy this issue as we continue to celebrate and support the vibrant artistic community across Southeast Asia. Your journey through these pages promises to inspire and elevate your appreciation for the arts.
With artistic fervor,
Ruth Chua Editor-in-Chief South East Asian Artists Magazine
“ Yellow over drawing”
365 day Art challenge day 340.
In this mixed media piece I had a page out of a sketchbook with a drawing on it and then laid the colours over it. The yellow paint in the piece has allowed the drawing to bleed through, I only noticed this after the piece dried. So here is yellow over a drawing.
Mixed media collage on watercolour paper. 19cm x 26cm.
We need to make work that matters for the people who care about our Art. It is easy to be average; it takes little effort and low risk, but it will always be average work. To make work that matters takes risk and emotional energy and we invest something in it that average doesn’t have, the desire for constant improvement.
Average does not have to improve, it’s just average and that is easy to do and nobody cares. Consistent improvement can be measured, we will see the improvement in our work, because it matters to you the creator and to the people who care about your Art. It always matters.
By: Ingrid Aimee
In a small, vibrant town at the heart of a war-torn region, there was a quaint art studio run by an artist named Lina. Her brushstrokes told stories of hope, resilience, and unity. Every stroke of paint on her canvases was a silent protest against the chaos outside. Lina's studio became a sanctuary for those seeking solace from the relentless conflict. People from all walks of life—soldiers, mothers, children, and elders—found a piece of peace within her colorful walls. Art, in its quiet, profound way, was creating ripples of change. Through her paintings, Lina captured the raw emotions of her people. A portrait of a mother shielding her child during a bombing spoke louder than any words could. A mural depicting a soldier extending a hand to a wounded enemy became a symbol of the humanity that still existed amidst the ruins. These images traveled far and wide, transcending borders and languages, resonating with people around the world. In the midst of turmoil, art became a powerful form of expression. It gave voice to the voiceless, bringing attention to the plights that were often ignored. Artists like Lina used their craft to highlight the devastating impact of conflict on everyday lives, shedding light on stories that would otherwise remain in the shadows. Art also played a crucial role in preserving culture. In times of war, when everything seemed to fall apart, these creative endeavors became beacons of identity and history. Lina's work, along with that of many other artists, ensured that the essence of their culture would not be erased by the violence. They painted folklore, traditions, and dreams, weaving a tapestry
of resilience that future generations could hold onto. Moreover, art bridged the divides created by conflict. Lina's studio often hosted gatherings where people from opposing sides would come together, bound by a shared appreciation for beauty. It was in these moments that the power of art truly shone through. It brought people together, fostering dialogue and understanding. A soldier and a civilian, both moved by the same painting, could find common ground in their shared humanity. Art also served as a therapeutic outlet for many. Lina encouraged war survivors to express their trauma through painting and drawing. For some, it was the first time they had felt heard. Their artworks, though raw and painful, were testimonies of their strength and survival. Through these creative expressions, they found healing and a way to process their experiences. In the broader context of global conflicts, art became a call to action. Lina’s paintings, shared on social media, sparked conversations and mobilized support. People from different corners of the world rallied for peace, inspired by the powerful imagery. Governments and organizations took notice, sometimes swayed by the undeniable impact of these artistic movements. Art in today’s world conflict is not just a form of expression— it is a form of resistance, a preservative of culture, a bridge between divides, and a healer of wounds. Lina's story is but one example of countless artists whose work continues to inspire and bring hope. Through their creativity, they remind us all of the enduring power of art to transform, unite, and heal, even in the darkest of times.
Angelico “Jik” Villanueva stands as a beacon in the Filipino art community, renowned for his masterful sculptures that depict daily life and religious figures using bronze, brass, stone, hardwood, and copper. His art reflects not only his extraordinary talent but also his deep faith and generosity.
From an early age, Jik was immersed in an artistic environment, thanks to his father, Ben-hur Villanueva, a celebrated sculptor and painter. This nurturing atmosphere cultivated Jik's passion for art, and under his father's mentorship, he was inspired to pursue his interests in both painting and sculpture. Jik’s formal education in Fine Arts, complemented by years of dedicated practice in Baguio City and Rizal, honed his skills and solidified his path as a sculptor.
Jik’s works have been prominently displayed in significant local events such as the Annual Sculpture Review and Manilart. His talent has also earned him a place on the global stage, where he has participated in numerous international biennales, workshops, and exhibitions. His art has captivated audiences in the United States, Peru, India, South Korea, Japan, China, Hong Kong, Indonesia, Malaysia, Bangladesh, and Singapore, among others.
Jik is widely recognized for his generosity and willingness to share his knowledge. He is often
invited to teach art in international programs and various classes in the Philippines. Grateful for the talent bestowed upon him by God, Jik gives back by mentoring fellow artists, helping them develop their craft without expecting anything in return. His selflessness and humility have made him a revered figure in the art community.
The inspiration for Jik’s art comes from his family, faith, and everyday experiences. His sculptures often depict various interpretations of the Risen Christ, detailed observations of nature, and scenes that illustrate familial relationships. His ability to transform these inspirations into physical, emotive artworks highlights his exceptional skill and profound understanding of human emotion.
Jik’s sculptures are more than just art; they are stories told through texture and form. Whether capturing a simple daily moment or a significant religious figure, his works resonate deeply with viewers, inviting them to uncover the layers of meaning within each piece. The intricate details and emotional depth of his sculptures make them not only visually stunning but also deeply moving.
Beyond his artistic achievements, Jik is known for his approachable and fun-loving personality. He brings joy and laughter to those around him, making him a delightful companion and a trusted friend. His
down-to-earth nature, coupled with his artistic brilliance, endears him to many.
The legacy of Angelico “Jik” Villanueva is marked by his remarkable artistic talent and genuine human warmth. His journey, supported by his family and personal perseverance, continues to inspire both budding and established artists. Jik’s work remains an integral and celebrated part of the Filipino art landscape, reflecting the rich cultural heritage and vibrant creative spirit of the Philippines.
Through his sculptures, Jik Villanueva offers more than art; he provides a window into his soul and invites us all to share in his journey of faith, generosity, and creative expression.
—Ingrid Aimee Peñaflor
A talented visual artist from Nepal, has created a distinctive niche in the art world with his work deeply rooted in the rich cultural heritage of the Kathmandu Valley. Growing up amidst the valley's historical temples, deities, and mythical narratives, Pradhumna developed a profound fascination for these elements, which now heavily influence his artistic creations.
Pradhumna's artworks are an amalgamation of myth, reality, and imagination, reflecting the rich heritage and architectural marvels of the valley. His paintings serve as a bridge between the past and the present, preserving the essence of Nepal's cultural history while infusing it with his unique perspective. Through his art, he aims to immortalize the vanishing heritage that he holds dear, creating visual testimonies of his concerns for future generations to witness and appreciate.
His formal education in art began at Tribhuvan University, Nepal, where he pursued a Master's in Fine Arts (MFA). However, his journey as an artist started much earlier, during his school days. Over the years, he has honed his skills and developed a style that is both evocative and thought-provoking.
Pradhumna is also a founding member of the Pagoda Group, an artistic collective that fosters creativity and collaboration among its members. Through this group, he has participated in numerous notable group exhibitions. His recent exhibitions include the "Deities of Nepal 2024" at the Nepal Art Council, "Collective Expression" at Siddhartha Art Gallery in
2023, and the "Himalayan Art Festival 2023" at the Nepal Art Council. These exhibitions have provided him with platforms to showcase his work to a broader audience and engage with other artists and art enthusiasts.
His artistic journey has taken him beyond Nepal's borders as well. In 2020, he showcased his work in "Revived Emotions" in Bangkok, Thailand, further expanding his reach and influence in the international art scene. Other notable exhibitions include "Coherence" (Pagoda Group Exhibition) in 2019 and "Symphonic Existence" in 2018, both held at the Nepal Art Council. These exhibitions have been instrumental in establishing his reputation as a prominent artist in the region.
Pradhumna's dedication to his craft and his passion for preserving Nepal's cultural heritage have earned him recognition and respect within the art community. His work is not only a celebration of his artistic talent but also a reminder of the rich history and traditions that continue to shape Nepal's identity.
Through his art, Pradhumna Shrestha invites viewers to explore the intricate narratives and architectural wonders of the Kathmandu Valley. His
paintings are more than just visual representations; they are a journey into the heart of Nepal's cultural heritage, offering a glimpse into a world that is both timeless and ever-evolving. As he continues to create and exhibit his work, Pradhumna remains committed to his mission of preserving and celebrating the heritage he so deeply cherishes.
—Ruth Espinosa
by Scott Maier
This article features excerpts from the October 2022 issue of Artists Magazine.
You’re in good company if you find yourself struggling with the issue of overworking your artwork. Defining when your work is “complete” is often ambiguous and left to a “gut feeling.” This is especially true for abstract works as well as processes that involve discovery and self-exploration. Defining when a painting is complete can feel somewhat delicate and sensitive. It sometimes feels like gambling, where, as we approach the end of a painting, we adjust a color, fix an edge, or add a line, in hopes that the single decision will bring it all together only to find that we’ve made it worse! We pushed it too far and now it’s ruined! While there is no broad definition or consensus in the art world as to when a work is complete, and thus not overworked, there is much we can learn from other artists.
Many great artists describe a relationship with painting that accepts the idea that a painting may never be complete. In this sense, the challenge is deciding when to stop, more than deciding when to call a work done. Leonardo Da Vinci is given credit for the quote as “Art is never finished, only abandoned.” At some point, we have to make a choice – do we continue working on our current painting or move on? Do we set a painting aside and come back to it later? Edgar Degas appears to have embraced the latter, as he was notorious for his tendency to hoard paintings so he could continue to tweak and adjust paintings over years. The Spanish realist, Antonio Lopez Garcia is featured in the 1992 documentary El sol del membrillo, (renamed “Dream of Light“) paints with unrelenting commitment to capturing the truth of a living quince tree, spending months changing and reworking his painting as the subject grows before him. Picasso even suggested that to “finish” a painting is to destroy it! These artists demonstrate a certain sense of futility, accepting the fact that works may never be fully completed – that perhaps it’s this fact itself that becomes the artist’s compulsion to paint. In this mindset, the idea of “overworking” becomes somewhat irrelevant.
“To finish a work? To finish a picture? What nonsense! To finish it means to be through with it, to kill it, to rid it of its soul, to give it its final blow the coup de grace for the painter as well as for the picture.” – Picasso
Overworking can sometimes be a result of a lack of clear focus or intention. If you’re struggling with “overworking” your paintings and it’s holding you back from growing as an artist, explore your motivation to paint. For some, the compulsion to paint can have many layers and often shifts throughout the process. Bring focus to your unique compulsion and hold it in your mind while you work. This can help you define when the painting is done and warn you when you’re at risk of overworking. Rembrandt, quoted in The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France (2003), by Alison MacQueen, says “The painting is finished when the artist says it’s finished.” We each paint for different reasons, so we will each arrive at different conclusions about when a work is “done.” Was it for the experience itself? Do you need something to hang on your wall? Do you have a message you’re looking to get across? Are you looking to discover something new through the painting process? Is the painting for you or someone else? George Braque provides the somewhat cryptic quote, “The painting is finished when it has erased the idea,” suggesting that a work is complete when the abstract expression of emotion overtakes the literal description of the subject. There are myriad reasons for why artists create and only you can define your own motivation.
Try writing a list of all the things you’re looking for in your painting and organize that list by priority. If your work must serve multiple purposes, and it’s difficult to determine which one is most important, try creating a series of small works before you commit to a final. With each painting in the series, isolate a single objective and observe your reaction to each one. For example, you may determine that your painting must convey a specific message, look good on a wall, AND allow you to express a specific emotion, all in equal measure. Create a series of three studies, isolating a single motivation to drive each study. Then reflect on the series as a whole to help you form the vision and plan for your final work.
“I tell myself that anyone who says he has finished a canvas is terribly arrogant. Finished means complete, perfect, and I toil away without making any progress, searching, fumbling around, without achieving anything much.” – Monet
Overworked paintings make perfect playgrounds for new experiences. If you’ve already determined that your painting cannot be fixed, your work now becomes just another study in which you’re free to embrace the freedom to explore, experiment, and simply have fun painting. Use an overworked painting to test new color combinations, techniques, materials, and more to see if it unlocks something new to use in the next iteration of your final painting. An overworked painting can simply mean you weren’t ready for the final yet!
Every artist has their own strategy for addressing the issue of overworking. Ask around and seek the guidance of an artist you respect and who respects your work. Experiment with different approaches to see what works for you! To help you get started, here are some responses featured in Artists Magazine.
“I keep stools and chairs throughout my studio. When I feel the work has developed, I step back and sit with it. When you take the time to live with a piece, you learn how to recognize what, if anything, it needs.” —Mia Tarducci, Artist
“The overarching goal in my work is to celebrate the people and places I find remarkable. I’m less interested in a futile exercise of highly rendered realism for the sake of satisfying my ego. To this end, I’m not as inclined to chase every minute detail and risk overworking a piece. I must admit that this requires a conscious effort each time a painting is approaching its conclusion.” —Mario Robinson, Artist
“I work fast and avoid boredom. I remind myself that paper is cheap and that I don’t have to keep going. A fresh page, or second draft, is preferable to getting bogged down.” —Danny Gregory, Artist, Author and Co-founder of Sketchbook Skool
By: Simon Peñaflor
If you’re reading this, then chances are you’ve encountered the painting titled “Stańczyk” or better known as the “Sad Clown Paradox” once in your life, some of you might even have this painting in your top ten and some of you might’ve never heard of it. “Stańczyk” was created in 1862 by Polish artist Jan Matejko, who was known for painting historical scenes. Stańczyk was painted early in Matejko’s career; he was only 24 years of age when he painted it. Stańczyk is an oil painting that featured a Polish jester dressed in red, his hands interlocked while sitting in a chair in a slightly slouched manner. He’s seen to be in a darkly lit room, with a sense of worry on his face. The painting itself gives a very gloomy aura surrounding it, giving the viewer a sense of something sinister waiting to happen. Stańczyk was the name of the court jester featured in the painting; he was
known by performing during the Polish Renaissance under King Sigismund 1 the Old. Stańczyk wasn’t only an entertainer, as you might expect from a jester, but Stańczyk was also praised for his intellect that he would showcase during his performances and would also do social commentary. He is considered to be more like a cultural icon in polish culture, and would appear now in books, plays and paintings. Matejko’s usual scenes in his paintings is known to be very crowded; it mostly shows very busy historical scenes with a lot of action happening. You notice a lot more details happening in the background the longer that you look at his paintings, and the longer that you look you start to notice and hear the chaos going on in his paintings. But Stańczyk on the other hand is very different from Matejko’s usual work. Instead of being a depiction of a public event, it’s much more intimate; the viewer is left to be almost alone
with the famous jester. We can see that he’s almost completely lost in thought, his posture shows despair and the fact that he’s left alone turning his back behind the party happening in the next room speaks of his melancholy, becoming a very powerful image.
What gives this simple painting such power is the story behind it, and the detail around the painting itself, showcasing of why the jester carried such worry on his expression. The painting’s full title is “Stańczyk during a ball at the court of Queen Bona in the face of the loss of Smolensk”. The jester was worried for the future of his country, during the time of this painting they were at war with Russia, where they recently had lost the city of Smolensk in 1514. Some analysts state that this was what the letter on the table contained, an announcement of their loss. What might be worrying Stańczyk even more is the royal family’s lack of care with what was happening to their empire. Another detail worth talking about is the window seen on the upper left side of the painting; out of the window we can see the Wawel Cathedral in the dark, this is the cathedral where kings are coronated and, next to it, a comet which symbolizes the downfall of the empire.
Taking a much closer look into what makes the painting so powerful is the two backgrounds behind of the scene, one is showing the outdoor scenery, placing the whole event at night, while the other shows a party and its many guests. In the room there’s a table with a letter on it, next to it is the Stańczyk himself, which of course is the subject of the artwork which Matejko shows by placing in the center of the artwork. The viewer’s eyes are naturally drawn towards him because of the strong contrast of the red clothes that he is wearing, which is easy to notice given the color state of his background and surroundings. Darkness dominates the entirety of the painting. The two red subjects in the painting are Stańczyk and the glow of the party happening behind him, I think this is to give the viewer an implication that the two should be united and not separated. But that’s one of the reasons why this painting has such a melancholy feel to it. The separation of the subject from the party, a feeling of the jester being misunderstood or a curse of him knowing a little bit too much and being too aware of his surrounding. It’s the depiction of a jester who, instead of being at the ongoing party, he’s left alone in a room, he’s not only refusing to attend it, but he’s literally turning his back to it, choosing to be secluded in the darkness. There’s a disconnection between Stańczyk and the party, out of all the people in the entire kingdom, he’s the one that should be attending it, after all he’s an entertainer, it’s his job to bring joy to the party, to give the guests a good time, the life of the party as some may call it. Which adds another layer of sadness to the scene. Stańczyk, the jester. The man whose chosen vocation revolves around bringing joy to the people, to make them laugh, to make people forget their problems even
for a little bit, while we find him alone in a dark room, he can’t even cheer himself up. This tragedy has an official name being “The Sad Clown Paradox”. A study of this said paradox was published in 1981, it was titled “Pretend the world is funny and forever: A psychological analysis of Comedians, Clowns, and Actors.” This paradox is said to be used to trigger an emotional response in an audience, this kind of self-sacrifice has been depicted in several paintings, movies and even books. Stańczyk is perhaps the earliest and most famous depictions of this paradox. What makes this painting even sadder is that Stańcyzk was modelled after Matejko himself, this could be, in a way a very desolate self-portrait.
An acclaimed Nepali artist, Mala has dedicated her career to exploring the beauty and spiritual depth of her country's cultural heritage. With a Bachelor’s Degree in Fine Arts from Lalitkala College in Nepal and a Master’s in Sociology, Mala merges artistic skill and social insight to create powerful and evocative works. Her artistic journey was further enriched by additional training at the Pagoda Academy of Fine Art in Tinkune, Kathmandu.
Over the years, Mala has exhibited her works in numerous group exhibitions, garnering admiration and recognition for her distinctive style and thematic focus. In 2024, her works were showcased at the Kathmandu International Art Exhibition, marking a significant milestone in her career. Her participation in the 2023 'Collective Expression' at Siddhartha Art Gallery also highlighted her as a vital contributor to the Nepali art scene.
Mala's art has been celebrated in various prestigious exhibitions, such as the 2022 "Agraj Ka Bimbaharu," organized by the Pagoda Group and Sushil Koirala Memorial Foundation at the Nepal Art Council in Babar Mahal, Kathmandu. That same year, she was featured in “A Contemporary Art Exhibition” at the Unnati Cultural Village in Chitwan, further solidifying her reputation as a leading contemporary artist.
In 2021, Mala participated in "Art Unites," an exhibition fostering artistic exchange between the
Philippines and Nepal, organized by FilArts and the Pagoda Group. Her international acclaim grew with her inclusion in the "Art Without Borders Part 5: Art is Heart" online exhibition by Gallery Saga in Kobe, Japan. Additionally, she contributed to the 2020 "Ataturk and Edirne" international online group exhibition of invited artists by Trakya University, Turkey, and the 2019 Fabrianoinacquarello International Watercolor Art Exhibition in Italy.
Mala’s artistic focus often revolves around the Mudras of Lord Buddha, merging her personal feelings and thoughts with these spiritual symbols. She believes that these gestures emit a powerful sense of peace, capable of influencing the environment around them. This thematic focus reflects her deep spiritual connection and intent to spread messages of tranquility through her art.
Innovatively, Mala combines elements of wooden sculpture with her paintings, symbolizing the tree as the foundation of all wooden art forms. This creative fusion demonstrates her ability to blend traditional and contemporary techniques, making her work both unique and resonant with cultural significance.
As a founder member of the Pagoda Group Nepalese Contemporary Artists Guild and the International Island Country Artists Group in Turkey, Mala has played a significant role in fostering artistic communities. Her passion for art is also fueled by her love of travel, drawing inspiration from her visits to places like Thailand, Dubai, the Dominican Republic, Trinidad and Tobago, St. Maarten, Guyana, Hong Kong, Grenada, St. Vincent, and various cities in India including Calcutta, Delhi, and Bangalore.
Mala Shrestha’s journey as an artist is a testament to her dedication to portraying Nepali culture and spirituality through her art. Her works not only capture the beauty of nature and spiritual symbols but also serve as a bridge connecting diverse cultures and artistic traditions. With each piece, she continues to inspire and bring a deeper appreciation of art to audiences both in Nepal and around the world.
—Ruth C. Espinosa
Roland Rosacay is a distinguished Filipino artist born in 1964 in Angat, Bulacan province. Growing up surrounded by the rich, vibrant nature of his hometown, he developed an early fascination with the natural world that profoundly influences his artistic vision. Rosacay holds a bachelor's degree in Art Studies from the Philippine Women's University in Manila, where he honed his skills in painting, sculpting, and printmaking. His artistic journey led him to become a respected member of the Philippine Association of Printmakers.
Rosacay's oeuvre is a testament to his profound connection with nature, particularly the aquatic realm. His celebrated "Fish Series" offers viewers a vivid exploration of marine life, employing a school of colorful, slightly translucent fish moving gracefully through flowing water. This series encapsulates a variety of themes, such as provision—reflecting how fish symbolize a bountiful harvest for food; prosperity— echoing the wealth fish represent in Chinese culture; and piety—as fish are iconic representations of Jesus Christ in the Bible.
There are over 33,000 fish species around the world, inhabiting oceans, rivers, ponds, and even man-made water forms like aquariums. Despite their diversity, a live fish moving in water serves as a rich metaphor for life. Rosacay's work captures this essence, illustrating how sometimes one needs to swim against
the current to find their path. His art reminds us to be vigilant, as dangers may lurk unseen, and to persist through life's strong, pressure-like waves. Much like how fishes are made for water and birds for the air, his work encourages us to appreciate our unique, God-given design.
Rosacay's fishes, with their round eyes seemingly gazing at the viewers, appear alert and vigilant, always focused on their goals: gathering food, protecting themselves from predators, and reaching their destinations. This is particularly evident in his "Fish Harmony Series," where he explored the splatter technique, adding texture and imparting a dynamic and playful appeal to the entire piece. Occasionally, the sun features in his works, symbolizing the guiding life force for the fish, and metaphorically reminding us to thrive whether in the sunrise of new beginnings or the sunset of life's challenges.
Beyond his mesmerizing depiction of marine life, Rosacay’s career is decorated with numerous
accolades and recognitions. In 1990, he was part of the critics' choice event at the National Museum. He also gained international attention in 1991 during the Seoul South Korea exchange, where he was mentioned in a published book. His talents further shone in the New York international competition in 1993, along with many other commendations throughout his career.
Recently, Rosacay participated in a group art exhibition titled "Freedom and Love Phils." and held a solo exhibition, "Fish on Earth," at Unimart, Capitol Commons, Pasig City. His art not only transports us to the mesmerizing wonders of ocean life but also propels
us to continue moving forward, embracing each new adventure with anticipation and resilience.
Rosacay’s body of work is a vivid reminder of the beauty and lessons that nature imparts, urging us to live with purpose, community, and an unyielding spirit.
—Ruth Espinosa
Afull-time artist based in San Pablo City, Laguna, Jeofrey has been creating art since he was a child. Growing up, his teachers and classmates often asked him to draw for them, recognizing his natural talent early on. Jeofrey's love for art has only grown over the years, and today, he is known for his mixed media and textured abstract paintings.
Jeofrey's artistic journey is deeply intertwined with his love for nature. He finds inspiration in the serene landscapes of San Pablo City, often painting while surrounded by the beauty of the outdoors. He believes that his talent is a gift from God, and this belief is reflected in the passion and dedication he pours into his work.
As a versatile artist, Jeofrey's skills extend beyond traditional painting. He is also a talented car painter, tattoo artist, airbrush artist, and interior decorative painter. This wide range of abilities showcases his adaptability and creativity, allowing him to express his artistic vision in various forms.
Despite his busy schedule as a full-time artist, Jeofrey remains a devoted son and uncle to his nephew. He is a responsible son to his parents, a caring brother to his siblings, and a loving uncle to his nephew. His family values are evident in the way he balances his
professional and personal life, always making time for those he loves.
Jeofrey is also an animal lover, which adds another layer to his gentle and compassionate nature. His big body might give the impression of a tough exterior, but those who know him well understand that he is a true gentleman. His kindness and gentle demeanor make him a beloved figure in his community.
In his art, Jeofrey often experiments with mixed media, creating textured abstract paintings that captivate viewers with their depth and complexity. His works are a testament to his skill and creativity, each piece telling a unique story through its layers and textures.
Jeofrey's dedication to his craft and his community has made him a respected artist in San Pablo City. His journey from a young boy who loved to draw to a full-time artist is a story of passion, perseverance, and faith. He continues to inspire others with his art and his gentle spirit, proving that true talent and kindness go hand in hand.
Jeofrey Padilla is not just an artist; he is a gentle soul whose heart is as big as his talent. His love for nature, family, and animals is reflected in his
art, making each piece a reflection of his soul. As he continues to create and inspire, Jeofrey remains a shining example of what it means to be a true artist and a wonderful human being.
—Ingrid Aimee Peñaflor
Born on June 18, 1986 in Tacloban City, Leyte, John Mercado Cesar (JMC) is a self-taught visual artist based in Makati whose dynamic and expressive works have captured the attention of art enthusiasts and critics alike. JMC's artistic journey is as eclectic as his education, having studied at Adamson University and spent his formative years at Sacred Heart Seminary in Palo, Leyte.
Influenced by iconic figures like Andy Warhol and Banksy, John’s style embodies the raw energy of Urban Street Pop Art. His versatility with mixed media allows him to create visually striking pieces that resonate with contemporary artistic expression. His works are a testament to his innovative spirit, seamlessly blending various mediums to produce compelling pieces that reflect modern themes.
John's creative portraiture, characterized by his use of monotonic colors such as umbers, raw sienna, and rustic tones, offers a nuanced exploration of his subjects' inner worlds. This distinctive approach has earned him a reputation for capturing the essence and emotion of his subjects with unparalleled depth.
As an artist constantly exploring new styles and processes, JMC embraces spontaneity, mistakes, and the creativity found in imperfections. This approach allows him to push the boundaries of artistic expression. He often leaves traces of grid lines in his paintings, revealing the process behind each masterpiece and adding a layer of natural spontaneity to his artworks. This genuine touch enables viewers to deeply connect with his creative journey.
One of his notable works is the mural at the Bel-Air Activity Center Children's Library.
This vibrant mural brings to life the joy and curiosity of childhood. It features whimsical scenes of children reading, playing, and exploring, surrounded by colorful illustrations of books and educational themes. The mural not only adds a splash of creativity to the library but also serves as a source of inspiration for young minds.
Cesar's use of bright colors and playful imagery creates an inviting atmosphere, encouraging children to engage with books and learning. The mural stands as a testament to his ability to blend artistic expression with educational value, making the library a place where imagination and knowledge thrive.
Through this mural, John Mercado Cesar has made a lasting impact on the community, fostering a love for reading and learning among the children of Bel-Air Activity Center. His work continues to inspire and delight, leaving a colorful mark on the hearts and minds of young readers.
Beyond his artistic creations, JMC is passionate about art education. He initiated free art classes for children with artistic pursuits, providing opportunities for young talents to explore their creativity. This commitment to nurturing the next generation of artists highlights his generosity and belief in the transformative power of art.
Known for his friendly demeanor and sense of humor, John is a beloved figure in the art community. His ability to tell jokes and funny stories makes him easy to be around, fostering a warm and welcoming atmosphere wherever he goes.
John Mercado Cesar's journey as an artist is marked by his remarkable talent, commitment to innovation, and dedication to promoting art education. His work continues to inspire and captivate, leaving a lasting impact on the Filipino art scene. Through his art, he not only tells his story but also celebrates the rich cultural heritage of the Philippines. His advocacy for freedom and creativity encourages fellow artists to embrace their unique styles and boldly push the boundaries of artistic expression.
—Ingrid Aimee Peñaflor
J
owell Legaspi Bantoto, a self-taught Filipino visual artist embodies dedication and sincerity in every stroke of his brush. Born in Tacloban City, Leyte, and now based in San Pablo, Laguna, Jowell is a modest man whose exceptional talent in painting nature and portraits has gained the admiration of art enthusiasts and critics alike.
Graduated with a BSBA major in Business Management from San Sebastián College - Recoletos, Jowell spent over a decade in the hotel industry before fully embracing his passion for art. Despite his humble beginnings and low profile, he found his way into the art world, driven by his love for painting and the unwavering support of his family and friends.
Jowell’s work is characterized by its simplicity and profound impact. He effortlessly blends nature and portraits, sometimes combining both to create pieces that reflect his inner world. Using oil paint and charcoal, he brings to light not just what he sees but also what he feels, making each artwork a part of his spiritual journey. For Jowell, painting is a form of meditation, a way to express his deepest emotions and thoughts.
As an in-house artist at Paraiso de Avedad, Jowell supports and connects with artists from various parts of the country. His dedication to his craft and his genuine nature make him a trusted friend and a mentor to many.
He also works as a part-time art teacher, sharing his knowledge and passion with aspiring artists. His humility and sincerity shine through in his teachings, making him a beloved figure in the art community.
Jowell has participated in various local exhibits, showcasing his versatility and skill. He gives his audience the freedom to interpret his works without any fancy foreword, believing that art should speak for itself. He understands that not everyone will appreciate his paintings, but he finds fulfillment in knowing that some will find an emotional connection with his art.
His art has reached beyond the Philippines, with some of his pieces now residing in Italy and the US. These artworks have found homes with collectors who appreciate the depth and authenticity of his creations. Jowell considers himself fortunate to have met many kind-hearted people through his art, further fueling his passion and dedication.
Inspired by Pablo Picasso’s quote, "Painting is a blind man's profession. He paints not what he sees, but what he feels, what he tells himself about what he has seen," Jowell continues to explore and express his unique vision. He believes that an artist gives a part of their heart and soul in every artwork they create, and this authenticity is evident in his pieces.
A man who makes simple conversations funny and lighthearted, Jowell’s charm lies in his ability to connect with people on a personal level. His hard work and dedication are evident in every piece he creates, making him a significant figure in the art community. Jowell Legaspi Bantoto’s journey as an artist is a testament to the power of passion and sincerity. His work continues to inspire and resonate with those who encounter it, leaving a lasting impression on the Filipino art scene and beyond.
—Ingrid Aimee Peñaflor
-Ingrid Aimee Peñaflor
This year, I had the incredible opportunity to participate in the TOPS Artfest 2024, held at the breathtaking venue of TOPS in Busay, Cebu, Philippines. As a proud representative of Art Portal Gallery, owned by the gracious Mr. Celso Duazo Pepito and Mrs. Fe Madrid Pepito, I joined a cohort of immensely talented artists including Mr. Roy Espinosa, Mr. Aris Bagtas, Mrs. Espie Bagtas, Mr. Jik Villanueva, and Mr. Cameron Castrillo. Together, we contributed to a vibrant art festival that featured over 200 artists from all over the Philippines, showcasing a mesmerizing array of paintings and sculptures.
The setting of TOPS is nothing short of spectacular. Situated atop the hills of Busay, it offers a panoramic view of the entire Cebu City, creating a picturesque backdrop for this cultural celebration. From
the moment I arrived, the energy and creativity were palpable. The festival was a blend of visual splendor and artistic camaraderie.
One of the most memorable aspects of the festival was the variety of activities that took place. There were art talks, where experienced artists shared their journeys and insights, inspiring both novice and seasoned artists alike. The art demonstrations were equally fascinating, providing live showcases of different techniques and styles, sparking new ideas and encouraging artistic experimentation.
A highlight of the event was the painting contest, which invited participation from both professional and student artists. Witnessing the raw talent and
passion of the participants was truly inspiring. It was a reminder of the boundless creativity that exists within our community and the importance of nurturing it.
As an artist, one of the most fulfilling parts of the festival was the friendships that were formed and the ideas that were exchanged. Conversations with fellow artists were enriching and often took unexpected turns into laughter and deep reflection. It was in these moments that I realized the true essence of the artfest - it was not just about showcasing art but also about building a supportive and vibrant community.
The culinary experience at the festival was just as delightful. With numerous restaurants to choose from, attendees could indulge in a variety of local and international dishes. However, the standout was undeniably the famous Cebu lechon. Its crispy skin and tender meat made for an unforgettable culinary delight that perfectly complemented the artistic feast.
Throughout the festival, I felt incredibly lucky to be surrounded by supportive family and friends who encouraged me to pursue my passion. Their presence added a layer of warmth to the already lively atmosphere. Meeting new people with kind hearts, who shared my love for art, was a gift that I will cherish. Participating in the TOPS Artfest 2024 was not just an artistic endeavor but a spiritual journey. It allowed me to explore and express not only what I see but also what I feel. The freedom to create and the freedom to be myself among like-minded individuals made this experience profoundly meaningful. The TOPS Artfest 2024 in Busay, Cebu was a celebration of art, culture, and community. It was a reminder of the power of art to connect, inspire, and heal. I am grateful for the opportunity to have been a part of this wonderful event and look forward to many more such enriching experiences.
Apassionate artist and professional architect, Paul began exploring the vibrant world of watercolors in 2017. Inspired by his father, the renowned artist Lito Pepito, Paul dove into the art of painting with watercolors, creating his first pieces featuring fish and single flowers. His journey as an artist took a significant turn while working for an event company in Bahrain, where he spent six years. It was here that he encountered fresh flowers from Holland, sparking his interest in painting floral subjects.
Paul chose to focus on florals, using the vivid colors in his palette to bring these natural wonders to life. He adhered to the advice of painting subjects that could be easily appreciated by viewers, using this as an opportunity to hone his skills in line drawing and color theory. This period of learning and practice laid the foundation for his artistic evolution, echoing his father's unorthodox approach to achieving success in the art world.
Paul's artistic journey began in earnest during a two-month vacation from Bahrain in the summer of 2017. He turned to art as a means to channel his emotions, completing three artworks during this time. His floral subjects, captured through photographs taken during his work abroad, served as inspiration for his watercolor paintings. In 2019, after ending his six-year contract in Bahrain, Paul returned home to pursue his dual passions as an architect and watercolor artist.
The global pandemic of 2020 provided Paul with the opportunity to focus extensively on his art. He painted a variety of floral subjects, including walingwaling orchids, roses, tulips, and more. In 2022, he participated in his first annual group exhibit with the Davao Watercolour Society (DWS) and achieved a significant milestone by selling his first artwork.
In March 2023, Paul held a three-man show with his father and another artist. The event was a tremendous success, with several of Paul's artworks sold even before the exhibition officially opened. This experience motivated him to continue experimenting with watercolors, discovering new techniques and subjects. He consistently participated in art exhibits, both solo and group, receiving invitations and commissions for his work.
In addition to watercolor, Paul explored other mediums, such as coffee art and acrylic painting. His father's advice to "paint beautiful, colorful subjects" resonated deeply with him, guiding his choices and approach to art. Paul viewed himself as a chef, creating "recipes" of artworks that collectors and clients would want to "consume." This philosophy of producing art for both economic gain and personal satisfaction became a driving force in his career.
Through his dedication and passion, Paul
Michael Vincent Pepito continues to contribute to the vibrant art scene, both locally and internationally. His journey as an artist reflects a blend of inherited talent, learned skills, and a profound love for capturing the beauty of nature with his brush.
—Ruth C. Espinosa
In the serene confines of his studio, Dr. Renato Cheng immerses himself in the vibrant interplay of colors on canvas. Balancing the demanding roles of a critical care physician and a celebrated artist, his journey elegantly navigates the realms of science and art. This exceptional duality has not only influenced his professional life but also enriched the unique perspectives he brings to both disciplines.
From a young age, Dr. Cheng harbored a deep-seated love for creativity, evident through his early sketches of nature. This budding interest in art was nurtured by the great masters of old. Their distinctive works served as a font of inspiration that propelled him on his artistic journey. As he developed his craft, Dr. Cheng grew increasingly captivated by the profound connections between Impressionism and Expressionism, two of modern art's pivotal movements.
While his artistic inclinations flourished, Dr. Cheng pursued a rigorous medical education. His
artistic passion was challenged by the demands of medical school and residency, yet he made it a point to dedicate precious hours each day to his studio. This commitment helped him refine his technique and explore various styles, demonstrating that art and science could coexist harmoniously.
Dr. Cheng’s foray into medicine was, in part, borne out of familial expectations. He chose the field of critical care, emerging as a compassionate and adept physician. His medical practice is underscored by the same sincerity and dedication that permeate his artistic endeavors. Colleagues and patients alike have lauded his ability to forge deep connections, making him a cherished figure within the medical community. Despite the gravity of tending to critically ill patients, Dr. Cheng consistently finds solace in his artistic pursuits. He has committed to painting at least one to two hours daily, regarding it not as a chore but as a joyful exploration of his inner self. In many ways, this routine has evolved into a form of meditation, allowing him to unwind amidst the pressures of his medical profession.
Dr. Renato Cheng's artistic prowess is distinct, characterized by thousands of deliberate brushstrokes that breathe life into his canvases. His work seamlessly marries Impressionism and Expressionism, resulting in vibrant compositions that evoke a kaleidoscope of emotions. The soft, delicate strokes capturing the skies—infused with lilacs, blues, and pinks—are reminiscent of the French Impressionists. Simultaneously, bold dashes of magenta and vermilion, combined with a distortion of forms, reflect the passionate spirit of Expressionism.
This useful blend of styles allows Dr. Cheng to encapsulate both the world's beauty and the depth of human emotion. His paintings resonate with a gentle grace intertwined with profound intensity, traits emblematic of his approach to both life and art. His distinctive technique, often marked by impasto—the layering of thick paint—adds texture and movement, making each piece feel alive and tactile.
Dr. Cheng's artistic contributions have garnered international acclaim, appealing to audiences across Asia, America, and Europe. His ability to evoke emotion and capture the essence of his subjects has established him as a sought-after artist. His paintings have found homes worldwide, from Japan to France, where they continue to captivate and inspire.
A hallmark of Dr. Cheng's work is the freedom it affords audiences to interpret. He purposefully avoids overly elaborate explanations, allowing the artwork to convey its own narrative. While he acknowledges that some may not connect with his style, he finds joy in fostering deep emotional bonds through his art.
For Dr. Cheng, creating art is not merely a pastime; it is a profound spiritual journey. Each piece becomes a reflection of his soul, an exploration of existence and his role within it. His art serves as a conduit for expressing the depths of his emotions, revealing not only what he sees but also what he feels.
This spiritual essence radiates through his romantic depictions of nature. His work invites viewers to delve beneath the surface, revealing the intricate interplay of light and color found in the natural world. Some pieces even introduce optical illusions, transforming colors as they engage the viewer, adding layers of mystery and awe.
Despite his accolades as an artist, Dr. Cheng remains unwaveringly committed to his medical practice. He skillfully navigates the delicate balance between his two passions, ensuring that neither is overshadowed by the other. His patients benefit from his compassionate care, while his artistry evolves concurrently.
Navigating this intersection of responsibilities is no small feat, yet Dr. Cheng meets challenges with the same dedication that has characterized his career. This remarkable ability to merge his multifaceted life serves as a testament to his incredible discipline and profound passion for both medicine and art.
Dr. Cheng actively encourages fellow artists to embrace their uniqueness and display their authentic selves. He champions boldness and confidence, urging others to transcend traditional boundaries in their artistic explorations. Over the years, he has taken part in numerous exhibitions, leaving lasting impressions on those fortunate enough to experience his work.
His artistic trajectory underscores the significance of passion and perseverance. Having carved a unique niche within the art world, his pieces stand as testaments to his skill and creativity. His legacy is one rooted in resilience, sincerity, and a deep love for both his profession and his art.
Dr. Renato Cheng's unwavering dedication to his craft is evident throughout his endeavors. He embodies the power of hard work and perseverance, with a journey that transitions from a boy enchanted by sketching to a globally recognized artist and respected physician.
Reflecting on his early experiences, he remembers countless hours spent honing his skills and experimenting with various techniques in his modest studio. Such memories serve as reminders of the arduous journey he traversed to reach his current position.
Nature remains a continual source of inspiration for Dr. Cheng. He finds beauty in the ordinary—a dawn's soft light or the vivid hues of sunset. Through his art, he challenges viewers to witness the exquisite depth within the simplicity of nature.
Beyond the walls of his studio and hospital, Dr. Cheng is also deeply engaged in his community. He firmly believes in art's potential to foster connection and stimulate positive change. He has organized various community art initiatives, bringing artists and art enthusiasts together to create public murals and installations that celebrate local culture and history. These projects enhance community aesthetics while promoting a sense of pride.
Among his notable contributions is a mural at the Lung Center of the Philippines and the National Kidney and Transplant Institute. This vibrant piece embodies the healing power of art, merging his medical expertise with his artistic vision. It not only beautifies the environment but offers solace and inspiration for patients and staff alike. The vivid colors and dynamic compositions reflect hope,
embodying the resilience of those battling illness in these facilities.
While deeply rooted in local initiatives, Dr. Cheng's artwork has also earned international acclaim. His exhibitions span galleries and museums worldwide, from Asia to Europe and the Americas. His canvases now reside in private collections globally, a testament to their universal appeal.
His journey invites us to perceive the world through his eyes, eliciting the emotions that fuel his creativity. Dr. Cheng's ability to harmoniously meld the spheres of medicine and art presents a compelling narrative of resilience, creativity, and an unwavering dedication to his passions.
Over the years, Dr. Cheng has participated in numerous exhibitions, showcasing his work and sharing it with wider audiences. Notable exhibitions include:
• First Impressions - Ayala Art Museum, 1994
• Pathway to Year 2000 - Ayala Art Museum, 1995
• Ecological Imprints - Ayala Art Museum, 1996
• Marikina Valley- Ayala Art Museum, 1997
• Impressions Expressed - The New Gallery, 2019
• Sui Generis - Artistree Edsa Shangri-La, 2020
• Landscape Memory - - The New Gallery, 2023
• The National Art Fair - SMX Aura Convention Center, 2023
• The Manila'Bang Show - Festival Mall Alabang, 2023
• Visayas Art Fair - Oakridge Studio Cebu, 2023A Scenic Recollection
• ArtistSpace Ayala Museum, 2024
• Love In Springtime- Nami Art Gallery Greenhills, 2024
• MOCAF 2024
• Marquis Event Place BGC, 2024
Dr. Renato Cheng’s extraordinary journey as both a healer and creator exemplifies the powerful intersection of art and medicine. His fervor for both disciplines transcends the canvas and the clinic, ultimately enriching the lives of those he encounters— be it in the hospital or through his artwork. Through his ongoing endeavors, Dr. Cheng continues to inspire others, proving that one can pursue multiple passions and leave an indelible mark on the world.
—Ingrid Aimee Peñaflor
Jan Erwin Jabolin:
Affectionately known as EJ, Jan is a prominent visual artist hailing from San Pablo, Laguna, Philippines. His hometown, famous for being the second-largest coconut producer in the country, greatly influences his work and advocacy for sustainable living.
EJ's passion for art was evident from a young age. He dedicated himself to honing his skills and gained substantial experience working in an animation studio in Manila. Here, he developed expertise in drawing and composition, laying a solid foundation for his future endeavors.
One of his notable achievements was his tenure as President of Kulay ng Pitong Lawa, where he
led initiatives that brought together artists to celebrate and enhance the local art scene. His leadership and vision were instrumental in fostering a vibrant community of creatives.
EJ's innovative spirit shines through in his creation, "Artistikraft." This project showcases his ability to see the artistic potential in everyday materials. By using pen and acrylic, he transforms coconut-based resources into stunning pieces of art that pay homage to traditional Filipino games. His work not only preserves cultural heritage but also promotes sustainability.
A true advocate for accessible art education, EJ initiated free art classes for children with artistic pursuits. His commitment to nurturing young talents and providing them with opportunities to explore their creativity is a testament to his generosity and belief in the power of art to change lives.
EJ's artistic influence extends beyond individual pieces. He is the creative force behind the most expensive indoor mural in the Philippines, adorning the walls of Academia de San Ignacio de Loyola in San Pablo City. This magnificent mural celebrates the rich heritage of Filipino games and stands as a testament to EJ's talent and dedication.
Known for his friendly demeanor and sense of humor, EJ is a beloved figure in the art community. His ability to tell jokes and funny stories makes him easy to be around, fostering a warm and welcoming atmosphere wherever he goes.
Jan Erwin Jabolin's journey as an artist is marked by his remarkable talent, commitment to sustainability, and dedication to fostering the next generation of artists. His work continues to inspire and captivate, leaving a lasting impact on both the local and national art scenes. Through his art, he not only tells his story but also celebrates the rich cultural heritage of the Philippines.
—Ingrid Aimee Peñaflor
Born in Nawalparasi, Nepal in 1998, Suijta Chaudhary has carved a unique path in the art world with her passion and dedication. She holds a Master's degree in Fine Arts (MFA) from the Central Department of Fine Arts at Tribhuvan University, Kathmandu, completed in 2022. Prior to this, she earned her Bachelor's degree in Fine Arts (BFA) in 2019 from Srijana College of Fine Arts, Kathmandu.
In addition to her formal education, Suijta has enriched her skills with various training courses. She completed the "Girl Scout Preliminary Training Course," the "Brown Owl Preliminary Training Course," and disaster management training organized by Nepal Scouts. Her multifaceted training reflects her commitment to both personal and professional growth.
Between 2016 and 2019, Suijta was actively involved in cultural performances, specifically Bharatnatyam dance courses at the Indian Cultural Centre, Embassy of India in Kathmandu. This involvement in performing arts has undoubtedly influenced her artistic style, adding a dynamic layer to her visual artworks.
Since 2015, Suijta has been sharing her knowledge and passion for art by teaching in various schools. Her teaching career highlights her dedication to nurturing the next generation of artists.
Suijta's work has been featured in numerous
national and international exhibitions. Notably, she participated in the "5th International Group Art Exhibition and Workshop" organized by the Rastrya Lalitkala Sang Nepal and Jaleswar Art Foundation in 2023. That same year, she showcased her work at the "International Art Exhibition 2023" organized by the Round Surface Progressive Art Group in Assam, India, and the "International Art Exhibition cum Workshop" by the College of Education Nagaon.
Her commitment to social causes is evident in her participation in the "Our Awareness Against Gender-Based Violence" exhibition organized by Budanilkantha Municipality in 2023. She has also exhibited her work at the "National Art Exhibition" organized by the Nepal Academy of Fine Arts (NAFA) in 2020, 2022, and 2023. Additionally, Suijta's works were part of the "Monsoon Printmaking Woodcut Prints" by Bindu Space for Artists and the exhibition organized by Siddhartha Art Gallery in 2023.
In 2023, Suijta participated in "Ragatko Nata (Period-Art)," and her MFA artworks were displayed at the Central Department of Fine Arts' gallery. Her works were also featured in the "9th National Lalitkala Exhibition" by the Nepal Academy of Fine Arts and the "Inter College Painting Competition and Exhibition" organized by the Pagoda Group.
Suijta's international presence includes participation in the "6th International Art Festival" at
Kota University, Rajasthan, India in 2020, and the "BFA Show" at the Nepal Art Council, Kathmandu in 2019. Her works were also part of the "National Exhibition of Fine Arts" organized by NAFA in 2019.
As a guest artist, Suijta has contributed to the "Alfresco Open Art Exhibition cum Competition" organized by Alfresco Media and Event Management Pvt. Ltd. in 2019 and the "One Day International Plain Art and Demo Program" in Jalpaiguri in 2023. Her collaborative projects include art projects at Thapathali Hospital, Iskon Budanilkantha, and the Sindhuli Mural Art Project in 2023, as well as the Kanti Children’s Hospital Art Project organized by Siddhartha Art Gallery in 2018.
Suijta has also participated in various art workshops, including the "4th Miniature Print Art Workshop" organized by Printmaking Nepal in 2024, the "International Plain Art Watercolour Workshop" at the Brahmaputra River in 2023, and the "Sang Sangai Print Making Workshop and Exhibition" organized by Gallery Mcube in 2019.
Suijta Chaudhary's artistic journey is marked by her dedication to exploring and expressing her cultural heritage, social issues, and personal experiences through her art. Her contributions to the art world continue to inspire and engage audiences both in Nepal and internationally.
—Ruth C. Espinosa
A Filipino artist of remarkable talent and international acclaim, has made a name for herself in both France and Morocco. Born in the Philippines, she spent her formative years in Marilao, Bulacan where she studied tourism. It wasn't until 1997 that her artistic journey truly began, prompted by a life-changing move from Asia to Europe, and later, Africa.
Her artistic awakening came under the mentorship of a retired Russian professor from the Imperial Academy of Arts in Saint Petersburg. Over the span of nearly two years, Marie mastered classical techniques, including Renaissance and Impressionist styles. This period was crucial in shaping her as an artist, and she remains deeply appreciative of the guidance and knowledge imparted by her mentor.
Marie’s debut exhibition was a significant milestone, held at a French cultural center in Africa. This initial success opened doors to prestigious venues across Europe, including the Grand Palais and the Carrousel du Louvre. Her works have also been showcased in numerous cultural centers, hotels, and private events, where she captivated an audience primarily composed of diplomats and expatriates. These exhibitions not only showcased her artistic prowess but also built lasting connections that would shape her career.
Transitioning from an exhibiting artist to an educator, Marie has shared her expertise at the American International School in Conakry, Guinea, and other private schools across Africa. Her teaching endeavors have allowed her to nurture budding talents, fostering a love for art among her students. Her dedication to education is a testament to her commitment to the artistic community, spreading her
passion and knowledge far and wide.
Recognition for her artistic contributions came with a medal and diploma from the Arts-Science et Lettres Academy, a prestigious acknowledgment of her impact on the art world. Now based in Paris, Marie co-owns the Kwadro Pintura gallery in the Village Suisse, located in the 15th arrondissement. This gallery serves as a creative hub, where she continues to paint and mentor aspiring artists, particularly foreign women and children eager to explore the world of art.
Outside the studio, Marie’s life is equally dynamic. She is an avid golfer, competing in various tournaments across Europe and Africa. In October 2024, she secured second place in a major competition, earning a spot in the finals of the BMW Golf Cup set to take place on November 3 in the Kingdom of Morocco. This dual passion for art and golf highlights her multifaceted nature and relentless pursuit of excellence.
Marie Veronica Expert's journey from the Philippines to the global art scene exemplifies her extraordinary talent and dedication. Her story is one of transformation, mentorship, and the relentless pursuit of artistic mastery. Through her exhibitions, teaching, and personal achievements, Marie continues to inspire and elevate the artistic community, leaving an indelible mark on the world of art.
—Ruth Espinosa
The art of painting is an intricate dance of elements that coalesce to create a masterpiece. Among these elements, a few are indispensable: mathematics, the intensity of colors, balance, transitions, and most crucially, the golden ratio.
The human mind operates on a subconscious level, processing visual stimuli in ways that often go unnoticed by the conscious observer. When an individual views a painting, their mind sees, feels, and anticipates what might come next, often within mere seconds. Despite this rapid processing, the viewer continues to engage with the artwork, attempting to decipher its meaning. This phenomenon occurs even as the mind has already drawn inferences from the piece, illustrating the depth of our subconscious interaction with art.
For viewers who are knowledgeable about art, this mental stimulation combines with their pre-existing knowledge, leading to a synthesis of new insights and interpretations. When these insights are expressed, they manifest as art criticism. However, regardless of one's level of understanding, every mind that observes art makes its own inferences based on its unique perspective and experiences.
The concept of the golden ratio, approximately 1.618, is a principle that exemplifies balance and harmony in the universe. This ratio, also known as the "sacred ratio," is inherently pleasing to the human eye and is found in nature, architecture, and art. When applied to painting, it ensures that elements within the artwork are proportionally balanced, creating a sense of aesthetic harmony.
An intriguing aspect of the human mind is its tendency to perceive objects on the left side more vividly than those on the right when they are equidistant. This preference is a testament to the effectiveness of the golden ratio in guiding our visual perception. When all essential components of a work of art—mathematics, color intensity, balance, transitions, and the golden ratio—are seamlessly integrated, the viewer’s mind is naturally drawn to appreciate the painting’s beauty and complexity.
As viewers engage with a well-composed painting, their minds are subconsciously stimulated, leading to an instinctive recognition of the work's merit. This subconscious recognition often translates into conscious praise, with viewers expressing admiration for the piece, even if they cannot articulate the technical reasons behind their appreciation.
In essence, the art of painting is a harmonious blend of scientific principles and creative expression. The golden ratio serves as a foundational element, guiding artists in creating works that resonate deeply with viewers on both a conscious and subconscious level. Through the meticulous application of these principles, artists can craft paintings that captivate and inspire, leaving a lasting impact on those who behold them.
— Safa Bute
For Filipinos in Mindanao, she is the champion of human rights, off-center charity works, and other humanitarian services. Aside from being an educator and CEO of several companies and organizations, she is also an advocate of the true history of Mindanao, a passion she lovingly shared with her late husband, His Majesty DULI YANG MAHA MULIA (DYMM) PADUKA SRI BAGUINDA (PSB) AL MALIK BILLAH TUANKU Hadji Datu Abdullah Lihondo Esmael bin Maulana Al Qadhi Adam, the Maharaja Tabunawai VIII of Mindanao Darussalam Negara Filipina.
This November 28, 2024, she will launch The Roots: SEJARA RAJA RAJA MELAYU SEJATI DI MINDANAO DARUSSALAM (History of the True Malay Rulers of Mindanao Darussalam Negara Filipina), a coffee-table book published by FilArts, Inc. Serving as the venue of this historic launching is the equally historic Manila Hotel. The book is planned to be launched in five other countries next year. Academicians, royalties, and members of the diplomatic corps from Nusantara countries are expected to grace the event.
The Roots narrates the origins of the royal couple’s journey to trace their family’s heritage and lineage, including their ordeals and discoveries that were never before published in mainstream Philippine
history textbooks. Looking back, it was in 1996 when her mother, the late Tengku Puteri Hadja Jumailiyah “Rempa” Ampaso Panding Binti Anggie (the royal keeper of the Royal House of Maharaja Tabunawai Clan) bequeathed to her a box containing archival handwritten records and mementos. Two weeks after that meeting, her mother passed away. As her interest was more on finishing her studies and having a career, she momentarily set aside her role as genealogy keeper.
Orphaned, she persevered and was able to finish her BSED (Major in English) degree in 2001 at the Mindanao Capitol College in Cotabato City and later, four semesters of law at the San Sebastian Recoletos-Manila. At a young age, she initially worked as a Clerk 1 to eventually becoming an Executive Assistant III at the former Office of the Regional Governor of Autonomous Region in Muslim Mindanao (ARMM) from 1993 to 1996. She also served as the Division Chief of the Bureau of Cultural Heritage at the ARMM. After her stint in government service, she set her eyes in becoming an entrepreneur. She eventually established a spa center and a restaurant in Manila.
A turning point in her life happened in 2010. Being the royal records keeper, a cousin requested her to revive the Maharaja Tabunawai clan and have it formally registered with the Securities and Exchange
Commission. A year after, she was appointed by the Council of Elders as president of the Maharaja Tabunawai Royal Descendants Council of the Philippines, Inc. (MTRDCPI). As the duo often attended royal functions together, the Council of Elders believed that the interest of the clan would best be served if the duo were married. A resolution was passed by the council for an arranged marriage and the duo became a couple with her husband as the titular head of the clan.
Together, the royal couple lived a simple life with charity and humanitarian activities including for those affected of the Marawi Siege. As the country representative of Muslim Aid UK (2012-2019) and with the support of international partners, she turned over more than 100 temporary houses to the Christian victims of Typhoon Yolanda. They quietly stood firm in their belief that their clan could be traced to HM Maharaja Tabunawai, the son of Mindanao’s first Royal couple, Al Syariful Ulama Al-Syarif Muhammad Ali Maraja Bin Sultan Muhammad Syah, a crown prince from Muar Lama of Old Johore in Malacca and Tengku Puteri Paramisuli, the daughter of Al-Syarif Auliya who was known as the Karimul Makhdum in Sulu, Raja Qumara in Champa, and Asmoro Qondi in Java Nusantara.
For several decades, the truth remained with the clan as they had no leads on how this could be independently verified. Worse, the family was often vilified by some politicians in Mindanao including those who claim of royal descent.
The journey to retrace the clan’s history brought them to the royal archives, ancestral burial sites, and cultural sites of Nusantara countries. As much as 8 hikayat books and 32 historical writings attested that Maharaja Tabunawai was indeed the first emperor of Mai (Mindanao) in 1380AD. It was her late husband’s dream that one day, their research and discoveries would be published and shared to students, teachers, and scholars of Philippine history. However, the dream was temporarily set aside due to her husband’s untimely demise on July 13, 2021. The following year, she mustered enough strength and resources as she embarked in a short-lived political journey as a senatorial candidate of the Katipunan ng Kamalayang Kayumanggi in the 2022 National Elections.
Through the years, she has become a symbol of women empowerment and championed an array of causes including environmental concerns and preservation of Malay heritage through the Pertubuhan Warisan Bangsa Melayu Filipina (PWBMF) and the Pertubuhan Bangsa Melayu Filipina (PBMF) which were founded by her late husband. Her accomplishments were recognized by organizations based in the Kingdom of Saudi Arabia, Malaysia,
United Kingdom, and the European Union. She was also a recipient of an honorary Doctor of Humanities (Honoris Causa) from the International Institute for Global Leadership in 2017.
On October 2, 2024, she received the “Anugerah Tokoh Adat and Budaya Nusantara” (Award of Customary and Cultural Figures of the Nusantara) from the Ministry of Tourism, Arts, and Culture of Melaka, Malaysia. It was turned over to her in a simple ceremony by D.P. Dr. H.j. R.A. Huzaifah Dato’ Hashim, Board Director and Chairman of Research and Special Task Bureau of the Dunia Melayu Dunia Islam for her exemplary efforts in promoting the Malayan heritage and cultural understanding, a month before the Festival Warisan Etnik Nusantara 2024. The event provided her a platform to elevate the awareness on the plight of the unrecognized but true leaders in Mindanao among the Nusantara countries.
— Ben-Oliver Matias
idden within the vibrant heart of Robinsons Novaliches lies a gem where creativity meets caffeine— the Gallery Brewed Cafe by FilArts. This isn’t just another coffee shop; it’s an artistic haven for those who yearn to stir their imaginations while sipping on a finely brewed cup of coffee.
Walking into the Gallery Brewed Cafe, you’re immediately greeted by an atmosphere that exudes warmth and creativity. The aroma of freshly brewed coffee mingles with the subtle scents of acrylics and canvases, forming a unique olfactory symphony. The interior is a feast for the eyes, with walls adorned with vibrant artworks, all curated to inspire and provoke thought. Every corner of the cafe tells a story, each brushstroke a testament to the boundless creativity of local artists.
But Gallery Brewed Cafe isn’t content with
merely displaying art; it’s a hub for fostering creativity within the community. For those who’ve always wanted to try their hand at painting, the cafe offers art workshops. These sessions are more than just a chance to learn how to paint; they’re a journey into the heart of artistic expression. Whether you’re a beginner looking to explore your creative side or an experienced artist seeking new inspiration, these workshops cater to all skill levels. Experienced instructors guide participants through the fundamentals of painting, from understanding color theory to mastering brush techniques. Each session is designed to be both educational and therapeutic, providing a perfect escape from the hustle and bustle of daily life.
The cafe’s commitment to art and creativity extends beyond its walls. By collaborating with local artists and hosting regular exhibitions, Gallery Brewed Cafe serves as a platform for emerging talents. This
collaboration not only gives artists a space to showcase their work but also enriches the community by making art accessible to everyone. It’s a space where conversations flow as freely as the coffee, sparking connections between like-minded individuals and fostering a sense of camaraderie.
Of course, the coffee itself is nothing short of exceptional. The cafe takes pride in its carefully curated menu, featuring a selection of beans sourced from the best coffee-growing regions. Each cup is brewed to perfection, with baristas who are as passionate about coffee as the artists are about their craft. From rich, velvety espressos to creamy lattes with intricate latte art, there’s something to satisfy every coffee lover’s palate.
In essence, Gallery Brewed Cafe by FilArts is more than just a place to grab a coffee; it’s a sanctuary for creativity and a community hub. Here, art and coffee blend seamlessly, creating an environment where inspiration is served by the cup. So next time you find yourself at Robinsons Novaliches, take a moment to step into this artistic oasis and let your senses be invigorated.
The Museum and Gallery
Is dedicated to collecting, preserving, and interpreting developments in the late 19th century to post-World War II art through 1970’s (Modern Art) and 1970’s to the present (Contemporary Art) in all media and creating a welcoming environment for its public appreciation. The Museum promotes understanding and interest in art and artists through art shows and exhibitions, curatorial research and publications, and a variety of educational programs, including lectures, guided tours, and workshops.
The Museum is an organic, changing place. Although all the works seen are part of our permanent collection, in order to show the full range of our holdings - over 2,000 objets d’art - and to accommodate important temporary exhibitions, certain works must occasionally be taken off view.
Modern Art
Modern Art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles and philosophy of the art produced during that era. The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. More recent artistic production is often called contemporary art or postmodern art.
Contemporary Art
Contemporary Art is the art of today, produced in the second half of the 20th century or in the 21st century. Contemporary artists work in a globally influenced, culturally diverse, and technologically advancing world. Some define contemporary art as art produced within “our lifetime”.
Free Admission
Come Visit Us by Appointment
Mon - Fri: 10am - 4pm Sat, Sun and Holidays: Closed
Moncada - Alcala - Bayambang National Road (Arboleda Street) San Pedro Ili, Pangasinan, Philippines
museumgallery.ph@gmail.com
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Galeri Shah Alam was founded under the management of Selangor Darul Ehsan Art Foundation on 26th January 1991 and was perfectly officiated by Duli Yang Maha Mulia Sultan Salahuddin Abdul Aziz Shah on 6th July 1991.
Selangor Darul Ehsan Art Foundation was inspired by Duli Yang Maha Mulia Sultan Sharafuddin Idris Shah Alhaj Ibni Almarhum Sultan Salahuddin Abdul Aziz Shah Alhaj when he was the Duli Yang Teramat Mulia Raja Muda Selangor, where he himself has deep interest and fond of painting.
To realize the inspiration, a discussion between Duli Yang Teramat Mulia Raja Muda Selangor, YM Raja Zahabuddin Raja Yaacob (Prof. Dato’), Syed Ahmad Jamal (Datuk), Tuan Haji Mohd. Musa Ideris and Encik Kassim (Dato’ Dr.), the expert in paintings and design, museum and law was done in order to help implement Duli Yang Teramat Mulia Raja Muda Selangor’s inspiration, in planning the outline of Galeri Shah Alam function and establishment under Selangor Darul Ehsan Art Foundation .
This former Selangor’s Cultural and Tourism Office building with a traditional Malay design, was designed by Puan Maimunah Deraman in the early 1980s. Then, Shah Alam City Council renovated the building to facilitate the art activities in Galeri Shah Alam.
Other than that, the building was designed with traditional Malay design and carving precisely demonstrated Galeri Shah Alam foundation objectives. Therefore, it was in line with the efforts made to the awareness, understanding, and appreciation toward art and integration of plural society in Selangor to popularize the nation’s visual and liberal art.
Galeri Shah Alam as an art centre and tourism attraction in the Klang Valley, is located in the middle of Shah Alam city core. The beautiful building with exquisite traditional Malay art and design surrounded by the lake and recreational park added the ‘art’ value. Besides the peaceful and cosy atmosphere, it can attract more people to visit Galeri Shah Alam.
The logo was inspired from a combination of soft elements of metaphoric and typography. The logo was made from a combination of the letters “SS” which means ‘Seni Selangor’, invented in abstract formation to highlight the art and aesthetic features. It also mirrors the functions and roles of Selangor Art Foundation in encouraging the visual and liberal art development.
To specifically make Shah Alam as an Art City to popularize the nation’s visual and liberal art.
To be the driving force of visual art and development activity, also variety of liberal art studies especially in Selangor and Malaysia in general.
To be the art reference for students of school, public and private institutions of higher education, and also to share experiences with the art activists especially the young generations.
To be the centre of exhibition for the painters and designers, besides as the tourism attraction.
To be the art heritage centre for the future generations.
To develop appreciation of cultural art through exhibition, poetry reading, discussion and more.
Roles of the Galeri Shah Alam
• To Establish the Gallery Permanent Collection
To acquire visual art works (drawings, paintings, sketches, sculptures, textile photography and others) from nation’s renowned artists from the early days until now as the permanent collections. The acquisition of foreign works is also made to enhance the Gallery collections.
• To Organize Exhibition
Organizing periodical exhibition by inviting nation’s artists either solo or in groups. Exhibitions by foreign artists and art institutions also being held especially to
give chances to the local community to evaluate and as a reference on art development globally.
• To Organize Competition Art, photography and print art graphic competitions at
school, institutions of higher education, district, state and national level are always held as one of the ways to develop skill and new talents in visual art.
• Art Education
Programs like painting class, sculpture, print, textile and photography for children, teenagers and adults are held in line with main role of Galeri Shah Alam in its effort to provide art education to those who are interested.
• Research and Reference
Provides reference materials for research such as books, magazines, exhibition catalogs, photos and slides, brochures related to local and foreign local art.
• Collaboration Programs
Organize collaboration programs with National Art Gallery, National Museum, State Art Museum, local art galleries, local and foreign art institutions, government and private departments, local and foreign institutions of higher education and also foreign countries to ensure art programs can be done successfully.
Clients Charter
Always ready to entertain, assist and give information to the artists, painters, art activists and art lovers. To give feedback to enquiries regarding the collections and collections information within seven (7) working days.
Always alert to the appropriateness of the needs to exhibit.
To organize Galeri Shah Alam Open Exhibition as a permanent annual activity.
Besides additional programs such as drawing competitions, workshops, drawing classes, related seminars, symposiums, conferences, talks and talk shows also take place.
Please follow us at: www.galerishahalam.com for any info about Malaysia Art scene
Espacio Manila and Artphile Gallery are twin spaces that foster the artisanship of Filipino virtuosos ranging from conventional to contemporary visual masterpiece. These two galleries celebrate the intricate beauty of Philippine art, cultivating both fledging and prominent creators who significantly contribute to the local art scene. Albeit both serve as an avenue for various aesthetic sensibilities, Espacio Manila ventures as an exploration for the new media and contemporary expressions; while Artphile promotes the perennial pursuits of traditional artistic works. These two galleries continuously thrive since the inauguration in 2018, successfully hosting group exhibits by various artists as well as the Cebuano artists group lead by Orley Ypon, and the known contemporary art group, the KUTA Artist Group. They also held an exhibit for a cause by a three-man show between Bangladesh Pervaj Hasan Rigan and Nabila Nabi and the Philippines —Roy Espinosa. Espacio Manila also hosted Freedom and Love 2019 Plein Air Live Sketching with the visiting artists from all around the world. The twin galleries have been actively participating in ManilArt where they showcase the works of Roger San Miguel, Jean Govinda Marquesto, Mayi Peñaflorida, Pope Dalisay, Chito Borja and talents of their home-grown artists.
Artphile and Espacio Manila is located at the 2nd level of Festival Mall’s Expansion Wing, Alabang, Muntinlupa City.
For more information, email us at galeriecmg@gmail.com or reach us at 8 829 0831, 0998 964 0832 or 0917 829 3961.
alm Artspace, nestled in the lush greenery of Hanoi, Vietnam, stands as a beacon of contemporary art, offering a genuine appreciation and passion for both Vietnamese and international arts. Founded by the visionary Vietnamese visual artist Dang Tuan, this gallery not only showcases a wide range of traditional and contemporary artworks but also serves as a dynamic hub for art enthusiasts of all ages.
At Palm Artspace, the walls are adorned with paintings and sculptures from both emerging visual artists and established masters from the local and international art scenes. Each exhibition transforms the gallery into a visual feast, drawing diverse personalities who come to marvel at the art on display. The gallery’s commitment to presenting artists who have elevated Vietnamese art through their mastery of traditional media and subjects is evident in every show.
One of the standout features of Palm Artspace is its dedication to nurturing fresh creativity. The gallery provides a venue for exploring new media and contemporary expressions, fostering an environment where artists can push the boundaries of their creativity. “With Palm Artspace, we have given a space to artists who are bolder and more experimental in their
creative pursuits. Their artistry could be described as contemporary, but we could refer to them as the ‘Millennials’ in Vietnamese art,” states Dang Tuan, highlighting the gallery’s mission to support and promote innovative artistic talent.
In addition to its exhibitions, Palm Artspace conducts art workshops for both the young and the young at heart, fostering a love for art and creativity within the community. These workshops provide invaluable opportunities for learning and engagement, allowing participants to explore their artistic potential under the guidance of skilled artists. By offering these programs, the gallery helps to cultivate a new generation of artists and art enthusiasts who appreciate the value and impact of art.
Palm Artspace’s commitment to both local and international art is further demonstrated through its diverse range of exhibits. The gallery has hosted numerous exhibitions that feature a mix of traditional and contemporary artworks, bridging the gap between different artistic styles and cultures. This inclusive approach not only enriches the cultural landscape of Hanoi but also positions the gallery as a significant player in the global art scene.
Located at 188A Thao Nguyen Ecopark in Hung Yen, Vietnam, Palm Artspace is more than just a gallery; it is a vibrant cultural hub that celebrates the transformative power of art. Whether you are an art aficionado or a curious visitor, Palm Artspace invites you to explore the world of art and discover the beauty and creativity that lie within. Through its exhibitions, workshops, and unwavering support for artists, Palm Artspace continues to inspire and uplift the art community, both in Vietnam and beyond.
—Ruth Espinosa
