Nasser Lubay is self-taught visual artist based in Manila, Philippines. He won 2nd Place in the Celeste International Art Prize in Berlin, Germany. He was chosen as one of the Young Ambassadors of Jollibee representing the arts and was part of the 50 highlighted artists in the acclaimed first international travelling biennial, 2nd Animamix Biennale: Visual Attract and Attack. He was part of the 2010 Ondarte International Artist Residency in Akumal, Mexico. He was also shortlisted in Celeste Prize 2010 Digital Graphics and a finalist in Kuala Lumpur Design Week 2009.
His art is an abstraction of captured moments fused in a mixed of pop, psychedelic, surreal, and fantasies. His visual composition starts from a flow in his hand forging into biotic, organic and geometric outcomes. He then meticulously strokes his vivid colors with a dimensional effect on the artworks.
Racquel de Loyola is part of the former KANTO Artist Run Space in Makati City Philippines. She was shortlisted artist for the 2007 Ateneo Art Awards in Manila Philippines. A recipient of the Cultural Center of the Philippines 13 Artists Awards in 2009.
De Loyola received the Asian Cultural Council fellowship program artist residency in New York in 2012. She has presented her works in various exhibitions and performance art festivals locally and abroad. De Loyola had previously presented her piece in titled “Blinded” Performance and Justice: Representing Dangerous Truths Symposium at the Black Box Theater in John Jay College in Manhattan in 2013.
“Fulcrum” a performance collaboration project with Mideo Cruz’ was presented during the event “Art Subversives ” at Grace Exhibition Space in Brooklyn New York in April 2013.
“Frozen Action” is a compilation of her previous performance documentation which was exhibited at the Bliss on Bliss Project Studio in Queens New York in April 2013.
She was one of the artist participated for the Triumph of Philippine Art exhibition presented at the George Segal Gallery at Montclair University in New Jersey USA in September 21-December 15, 2013, presented at the USC Fisher Museum of Art in Los Angeles California in February 5 to April 13, 2013 and finally a homecoming exhibition last July 21 to August 31 2014 at the Ayala Museum.
Cian Dayrit is an intermedia artist working with painting, sculpture, and installation. Straddling between fact and fiction, Dayrit’s works explore origins and histories, and their re-presentations in visual apparatuses, from the map, curiosity cabinet, and on to the museum. He received a bachelor’s degree in Fine Arts from UP Diliman in 2011, where his final project titled Artefact X was awarded Most Outstanding Thesis. His recent solo exhibitions include Spectacles of the Third World at Tin-Aw Gallery (2015); Polycephalous at Art Informal (2014); and The Bla-Bla Archeological Complex at the UP Vargas Museum (2013). He participated in the group exhibition titled Exposition at the Lopez Memorial Museum in 2016.
Mideo M. Cruz is an active cross-disciplinary artist-organizer based in Southeast Asia. His works shows strong allegorical images of the social order. In 2011 he became controversial when his installation “Poleteismo” in Cultural Center of the Philippines was strongly objected by the Catholic Church which ended up in exorcism rituals and a Senate hearing. Among his merits is the 2003 Cultural Center of the Philippines Thirteen Artists Award, the 2003 Sungduan Grant and the 2006 Ateneo Art Award.
Jes Aznar is a full time documentary photographer based in Manila, Philippines, covering Asia, Pacific and beyond. The New York Times regurlar contributor, Co-founder @everydayphilippines on Instagram.
Partial client and publication list: The New York Times, The Washington Post, Getty Images, Wall Street Journal, Bloomberg, International Herald Tribune, California Sun day Times Magazine, Asian Development Bank, UN World Food Programme, International Committee of the Red Cross.
Frances Abrigo is one of the artists that travel across the city expressing themselves through graffiti with a stencil and spray-paint in hand. In his first solo exhibition, a fresh set of works are situated within a site that is entirely different from any typical street in Metro Manila namely an art exhibition space. Out in the streets, images from stencils are usually repeated in every corner as many times the artist possibly could under given circumstances. The way they convey messages are usually short and straightforward even if sometimes they are not fully understood by an ordinary passerby. In crowded busy streets these images could sometimes only guarantee itself a passing glance. So how are we going to look at these stencil paintings if it is situated in a place where images are given a kind of privilege to demand from its viewers to look at them in a solemn, meditative manner? So to speak, these portraits have more time to look at us looking at them. What stares back at us are two different sets of people: one are indigenous senior citizens from the Mountain Province and children whose faces are deformed due to some medical condition on the other. Young aberrant faces with their future looking dim under the pressures of the norm, not to mention the high mortality they bring about, and old people whose features have been worn down by the passing of time and toughened by experience. They are referenced from the internet without having any real connection to the context from where they came from. What could probably be seen here then are projections upon these individuals of what the artist sees as the image that aptly represent two different points in (his) life; people who just arrived although in a bad state and the ones who are about to leave. The superimposition of one elaborate, amorphous shape on top of another that create facial features, details and values also resemble a hidden contour map of a terrain, which emphasizes the idea of moving from one state to the other. Cutting these intricate forms on stencil is in one way or the other a form of meditative process that is mostly repetitive and time-consuming. More than being just faces, they are like a rough abstract guide that helps someone make sense of these points in life. A spectator is somehow caught between the transitions from being a young social outsider to a wise old man. What could be seen here are attempts to conceive for oneself a sort of path upon which the shift takes place and eventually, hopefully in the end be able to reach it. The stencil paintings within this space then is a sort of subtle personal reflections on being young and a little different from the others while still having a belief that there is some sort of destination or purpose in life which will be revealed to oneself by the things a person believes in.
A Fine Arts senior at the University of the Philippines. Born on March 25, 1986 in Manila, Philippines, he is slowly establishing a reputation as one of the most promising emerging artists in the country today.
Abrigo was a two time-finalist in the PLDT DPC Annual Visual Arts Competition held in 2005 and 2006. In 2005, he was also a finalist in the Metrobank Art and Design Excellence Awards. That year he also earned seventh place distinction in the Shell National Students Art Competition.
Abrigo’s highly successful breakout solo exhibit, “Escape," held at e galerie in 2007 was very well received by art collectors and critics alike. “Abrigo may be young in this industry,” the Philippine Daily Inquirer observed, “but his insights are as old as our collective memories.”
Of his 2008 second solo exhibit, “Enigma,”Johnathan Libarios Rondina wrote thus for the Philippine Daily Inquirer:
“For sure Abrigo’s brushwork is clean and certain, but his gift lies in his vision of art-as-text and of the canvass as a magic slate of meanings. This time around, Abrigo, who once covered a car with cowhide for his undergraduate thesis, concentrates on building collages in mixed media where pop icons, historical figures, ideologues, avant-gardes, starlets, Bolsheviks, geishas and comic book heroes are re/appropriated and together make the strangest of bedfellows in fluid, hybridized narratives set against a landscape of industrial metal and concrete. The resulting pastiche is both whimsical and intellectual where each image is simultaneously de/recontextualized.”