Filipino Market Scenes
This collection features paintings of market scenes and still lifes from the Philippines. I primarily drew inspiration from photographs taken at open markets in Metro Manila, Taal, and my home province in Mindanao. To me, the palengke has always been the most exciting and vibrant place to witness the bustling activities of people, and above all, to experience the wonderful sights and smells of the market—especially the tropical fish, fruits, vegetables, flowers, and delicacies.
For me, the true reward lies in the pleasure of painting these nostalgic scenes, which serve as both reminders of my past and of my homeland.
Political and Social Commentary
Today, Filipino-Americans are the third-largest Asian-American group in the U.S. Yet, stories about our national history and immigration to this country are seldom told, and when they are, they are often misunderstood and underappreciated in their unique political and human contexts. It is this lack of conversation in the cultural landscape that inspired me to create a visual narrative and commentary on the Filipino experience.
The story begins with two condensed overviews of the major colonial influences in the Philippines—Spanish rule for more than three centuries, and American control for half a century—and how these periods impacted native culture. One piece addresses a little-known historical fact: Filipinos were living in Louisiana as early as 1763, possibly earlier. After escaping from Spanish galleon ships in Mexico, they found their way to the bayous of Louisiana. The painting depicts Filipinos stomping on dried shrimp, a food preservation technique they introduced.
Shortly after the official American colonization of the Philippines at the turn of the 20th century, there was a large-scale immigration of Filipinos to the United States. Cheap labor was needed to fill the gap left by the moratorium on Chinese labor imports. The first wave of immigrants primarily consisted of men, recruited by labor contractors to work on Hawaiian pineapple and sugar plantations, agricultural fields on the West Coast, gold mines, and fish canneries in Alaska. Several paintings explore the experiences of these workers and later waves of immigrants, drawn from various historical sources.
The work entitled Pinoy offers an encapsulated portrayal of the Filipino identity, using the informal term Pinoy to showcase the wide range of racial characteristics that make up the ethnic group, as well as the various objects and artifacts associated with them. I have also created commentary pieces reflecting my views on issues facing the Filipino diaspora and the politics of both the Philippines and the U.S. One such piece offers an ironic take on the infamous 3,000+ pairs of shoes reportedly owned by Imelda Marcos during the rule of her and her husband in the impoverished nation.
This collection is part of an ongoing project aimed at telling a more comprehensive story. I chose to work in an accessible, shorthand manner of storytelling. The juxtaposition of graphic, painterly, and collage techniques creates a hybridized stylistic mélange, which I believe reflects the transformed culture of the Filipino people, shaped by the diverse and pervasive colonial pressures on native society.
Abstract Expressions
What draws me to abstract expressionism is the immediacy and freedom it offers the artist. For me, painting is not only a sensuous and seductive act, but also one that is deeply challenging because it is unpredictable and full of surprises. This collection of paintings was mostly created earlier in my career, though I occasionally return to this style to "unwind" and refresh my spirit.
I describe my works as bold, unplanned journeys of brush and paint. I begin with a mix of anxiety, fear, and anticipation, much like jumping into an unknown sea without a life jacket. With no fixed ideas, I allow myself to freely draw with paint, letting my hands "find" forms to express a particular emotional sensation or mood. I liken the process to a kind of "spatial vagrancy," where a mysterious creative alchemy takes place—my hand gropes, roams, and explores unknown forms, possibly from my unconscious, and then these forms somehow guide the hand. Much like writing poetry, the work in progress takes on a life of its own, suggesting the next moves and eventual resolution.
To me, this represents a precious dialogue between the conscious and unconscious, creating a vibrant tension in the process. The unidentifiable or suggestive shapes in my paintings dash, dance, jostle, fight, scream, yawn, or simply gather together. They form a personal and idiosyncratic vocabulary, which I hope offers opportunities for open-ended interpretations, childlike joy, and sensuous adventures.
Landscapes and Still Life
The landscape paintings are my impressions of places I have visited and lived in, rendered in my own realistic style. These landscapes include scenes from the Philippine Islands, New England, the Midwestern United States, and other locations. During my visits to the Philippines, I captured images of the slums in urban areas. I am currently working on portraying their chaotic and disheveled states, while also seeking to find beauty within them.
This collection features paintings of market scenes and still lifes from the Philippines. I primarily drew inspiration from photographs taken at open markets in Metro Manila, Taal, and my home province in Mindanao. To me, the palengke has always been the most exciting and vibrant place to witness the bustling activities of people, and above all, to experience the wonderful sights and smells of the market—especially the tropical fish, fruits, vegetables, flowers, and delicacies.
For me, the true reward lies in the pleasure of painting these nostalgic scenes, which serve as both reminders of my past and of my homeland.
Political and Social Commentary
Today, Filipino-Americans are the third-largest Asian-American group in the U.S. Yet, stories about our national history and immigration to this country are seldom told, and when they are, they are often misunderstood and underappreciated in their unique political and human contexts. It is this lack of conversation in the cultural landscape that inspired me to create a visual narrative and commentary on the Filipino experience.
The story begins with two condensed overviews of the major colonial influences in the Philippines—Spanish rule for more than three centuries, and American control for half a century—and how these periods impacted native culture. One piece addresses a little-known historical fact: Filipinos were living in Louisiana as early as 1763, possibly earlier. After escaping from Spanish galleon ships in Mexico, they found their way to the bayous of Louisiana. The painting depicts Filipinos stomping on dried shrimp, a food preservation technique they introduced.
Shortly after the official American colonization of the Philippines at the turn of the 20th century, there was a large-scale immigration of Filipinos to the United States. Cheap labor was needed to fill the gap left by the moratorium on Chinese labor imports. The first wave of immigrants primarily consisted of men, recruited by labor contractors to work on Hawaiian pineapple and sugar plantations, agricultural fields on the West Coast, gold mines, and fish canneries in Alaska. Several paintings explore the experiences of these workers and later waves of immigrants, drawn from various historical sources.
The work entitled Pinoy offers an encapsulated portrayal of the Filipino identity, using the informal term Pinoy to showcase the wide range of racial characteristics that make up the ethnic group, as well as the various objects and artifacts associated with them. I have also created commentary pieces reflecting my views on issues facing the Filipino diaspora and the politics of both the Philippines and the U.S. One such piece offers an ironic take on the infamous 3,000+ pairs of shoes reportedly owned by Imelda Marcos during the rule of her and her husband in the impoverished nation.
This collection is part of an ongoing project aimed at telling a more comprehensive story. I chose to work in an accessible, shorthand manner of storytelling. The juxtaposition of graphic, painterly, and collage techniques creates a hybridized stylistic mélange, which I believe reflects the transformed culture of the Filipino people, shaped by the diverse and pervasive colonial pressures on native society.
Abstract Expressions
What draws me to abstract expressionism is the immediacy and freedom it offers the artist. For me, painting is not only a sensuous and seductive act, but also one that is deeply challenging because it is unpredictable and full of surprises. This collection of paintings was mostly created earlier in my career, though I occasionally return to this style to "unwind" and refresh my spirit.
I describe my works as bold, unplanned journeys of brush and paint. I begin with a mix of anxiety, fear, and anticipation, much like jumping into an unknown sea without a life jacket. With no fixed ideas, I allow myself to freely draw with paint, letting my hands "find" forms to express a particular emotional sensation or mood. I liken the process to a kind of "spatial vagrancy," where a mysterious creative alchemy takes place—my hand gropes, roams, and explores unknown forms, possibly from my unconscious, and then these forms somehow guide the hand. Much like writing poetry, the work in progress takes on a life of its own, suggesting the next moves and eventual resolution.
To me, this represents a precious dialogue between the conscious and unconscious, creating a vibrant tension in the process. The unidentifiable or suggestive shapes in my paintings dash, dance, jostle, fight, scream, yawn, or simply gather together. They form a personal and idiosyncratic vocabulary, which I hope offers opportunities for open-ended interpretations, childlike joy, and sensuous adventures.
Landscapes and Still Life
The landscape paintings are my impressions of places I have visited and lived in, rendered in my own realistic style. These landscapes include scenes from the Philippine Islands, New England, the Midwestern United States, and other locations. During my visits to the Philippines, I captured images of the slums in urban areas. I am currently working on portraying their chaotic and disheveled states, while also seeking to find beauty within them.