Relief is a painting about being vulnerable enough to ask for help, a trait that many may try their best to mask or avoid. It is about the journey from humility towards acceptance: how it is not always an easy process, as admitting one’s need, is often the most difficult first step to take. This is symbolised by the thin white thread starting from the woman’s lips to her clasped hands. The line then descends to the tips of the open palms, barely noticeable below. This embodies how blessings somehow come full circle and return to those who give gratuitously. I also wanted to express that visceral feeling of relief, of being able to breathe with ease when help finally or unexpectedly comes, as portrayed by the female figure in mid-exhale. The golden glow around her is symbolic of the accompanying sense of joy, elation, and celebration of emerging from dark to light.

Auctioned off for Ray of Hope Singapore’s 10th Anniversary 2022 charity auction, and exhibited in Globe Telecom’s 2023 Halik-Likha Women’s Month group exhibition, Globe TGT Hall of Art, Philippines.

RELIEF

{SOLD} 2022 / 91.4 x 122 x 4 CM

Parenthood, particularly motherhood, is a balancing act. And the pressure on mothers to adroitly balance multiple roles nowadays is incredible. For example, we must attempt to be conservators of tradition, but also liberal crusaders; which is what I tried to show here with this diptych: a conflict, in harmony. The shrouded woman on the left seems to be more modest and restrained. The woman on the right strikes a pose that of a warrior, holding what appears to be a sword, flag, or banner. This is the challenge for us mothers: To be disciplinarian, provider, entertainer, etcetera, all rolled into one. Nonetheless it is the present-day women who manage all these responsibilities gracefully who inspired me to create this piece - the hyphenate multitaskers, captured here in a flurry of motion.

HYPHENATE

{SOLD} 2017 / 91.4 x 91.5 CM; 45.7 x 91.5 CM EACH PANEL

An abstract-expressionist, Cecily Brown-inspired piece depicting a typical, busy, Singaporean hawker centre and all its bustling energy of people flowing in and out. After the “Circuit Breaker'“ or lockdown that happened in Singapore in the wake of the Covid pandemic, I truly missed quintessential scenes like this in Singapore — where everyone is huddled together, usually over the excitement for good food and jovial gatherings.

Exhibited with Gallery 1819 of LivingwithArt Singapore during the 2021 National Day Exhibition, and mentioned in Vogue Singapore (August 2021).

HAWKER CLAMOUR (THE CROWDS WE MISS PT. 1)

{SOLD} 2021 / 45.7 X 45.7 CM

They say spending December in the Philippines means experiencing ‘Christmas on steroids’. Preparations, festivities, and even carols in the malls begin before the “-ber” months. But I do remember a warmth and magic beyond the capitalist glow, when as a child we’d fly back to Manila every other year from HK, to be with family. The dawn and midnight masses, handmade ‘parol’ lanterns being sold street-side, and of course, always a mad rush of people hurrying to relatives’ houses for special meals – this is home to me in its most heightened sense.

AFTER CHRISTMAS MASS (THE CROWDS WE MISS PT.2)

{SOLD} 2022, 90 X 70 CM

Glacier I, along with the rest of the Glacier Series, was my way of dealing with anxiety for the future and with change. Although I consider climate change to be an extremely important issue that deserves more urgent attention, in this piece, the eventual melting of the ice is symbolic of events that seem inevitable or out of one’s control. Hence the overwhelming, mountainous angle and size of the glacier. The “EXP.ON” expiration stamp that is stenciled to the painting alludes to both an ominous warning of what is to come, and yet also, a hopeful message: the age-old saying, that ‘this too, shall pass.’

GLACIER I

{SOLD} 2019 / 120 CM IN DIAMETER

Glacier II was an experimental collage that started out as explosive strokes of streaks of blue and white on readily available scrap paper. The challenge was then piecing together these strokes on papers of varying thickness and surface textures. The artwork is representative of my second phase in dealing with anxiety that won’t seem to ease; which entails examining the bits and pieces of the problem and figuring out how to make something out of it all. The overall look is much like a page from a storybook, as it was very much inspired by the children’s books illustrator Eric Carle.

Glacier III is a hand-embroidered acrylic painting, which deals with committing to memory something one knows is ephemeral or vanishing. It’s about making the impermanent more permanent with every stitch.

GLACIER II / GLACIER III

{SOLD / STILL AVAILABLE} 2019 / 60 CM EACH IN DIAMETER

Inspired by the frenzy of Pollock's 1943 Mural. This is one of the two paintings I made for the group exhibition Underwater Love for Manila's Pocket Universe Art Collective in Saguijo, Makati City.

FISH PILE

2012 / 60.96 x 60.96 CM

You could say that Filipinos are a superstitious people. A large tree that lives for centuries, like the balete tree, is believed to house, if not have a spirit of its own. When you do see these actual trees in person, you can almost feel there is a strong elemental presence, and that is why many folklore stories and characters that must be both feared and respected have been built around them. In this painting, I wanted to focus on the spirit and vitality of these ancient trees by emphasizing the texture and intricacy of its roots and intertwining branches and vines (again, a repetition of the interwoven or interlacing theme as shown in the Duyan painting). Although partly inspired by the untamable shape of Piet Mondrian’s Gray Tree oil painting, Balete is much more wild and vibrant in colour.

 BALETE

{SOLD} 2016 / 84.3 x 59.4 CM

In Exodus, I drew inspiration from news footage of refugees in their life jackets, arriving at the shores of Lesbos on flimsy rubber dinghies. The beach itself is no longer visible as thousands of discarded life jackets litter what was once a pebbly bay. Each of the smaller canvases draws attention to important components of the refugee crisis. First, the life vest symbolises hope, as these inflatables are the only aides left which refugees can cling to, as they make their exodus across the Mediterranean Sea. Second, the sea's waves represent their tumultuous journey, which doesn't just end once they reach land. And lastly, the faces of the passengers draw focus on the most important thing that we have to remember, that these are individual persons, not just mere statistics. However, as grim as this topic may be, I believe that every crisis is an opportunity – an opportunity for true compassion that transcends borders.

EXODUS (SHORE OF LIFE VESTS)

{SOLD} 2017 / 80 x 80 CM (Main Canvas)

For this abstract piece I wanted to explore what symbolised home for me, or what was symbolic of my identity as a Filipino. The more I thought of what draws me back home, what makes me feel connected to the Philippines, the more I realised, it was the sense of warmth and comfort that I was really seeking, much like what a bowl of sinigang provides. Sinigang is a sour, tamarind-based soup with many ingredients, and is traditionally served during Sunday lunch in our house when the family is all together.

HOME IS A BOWL OF SINIGANG

{SOLD} 2014 / 70.9 x 91.8 CM

This series was for a group exhibit called the Revolver Show for My Little Art Place in San Juan City, 2012. All artists were required to paint on round canvases, about 12” in diameter. This literally shaped what I thought would be fun and eye-catching, with the focal point, the eyes, coming from the middle straining outward. Here you can see my love for saturated colours and patterns such as bird feathers.

AT THE PEAK / PEEKING / PEAKING (CLOCKWISE FROM TOP) 

{ALL SOLD} 2014 / 2012 / 2012 / 30.4 CM EACH IN DIAMETER

An oil and acrylic painting I made as an ode to 182 pine trees that were cut down in the mountain province, because a large department store chain in the Philippines, SM ShoeMart, wanted to make room for a new wing and parking lot. Much like the lyric in the song: They paved paradise to put up a parking lot.

I wanted the sky to look like it was on fire to represent the enraged Baguio residents, and those who still feel passionate about protecting the environment.

REMEMBERING BAGUIO'S 182

{SOLD} 2014 / 59.7 x 49.3 CM

If there was anyone I wish I could have met or watched in person, it would be Nina Simone. I deeply love her music and her passion whenever she performed. This is one of my most cherished pieces, which I painted while I was in Siargao for the Galerie Joaquin-371 Artspace show entitled ICONS. I drew inspiration from the cover of the album Forever Young, Gifted & Black and the fluorescent knife paintings of Francoise Nielly. I wanted to show the vibrancy of her spirit through all the colours and her expressive eyes.

Here, I did not use any store-bought black paint and instead mixed hues until I was satisfied with the shade for the outlines and shadows.

NINA JUST CARES FOR ME

{N.F.S.} 2012 / 55 x 46 CM