Exhibitions
ARTICULATIONS OF EXISTENCE
Baan Tuek Art Center Chiang Mai, Thailand • 3 - 23 March 2018
Exhibition with participating artists at Rikuzentakata Artist-in-Residence Program 2017: Ubatsat Sutta, Aigars Bikse, Hayashi Yusihiko and Jun Matsuyama. My work was a timelapse video titled The Days are Short, The Years are Long with sets of my small drawings of peelings and flower drawings by Eina and Sena who I met in Rikuzentakata City.
RETREAT, REPEAT.
27F Quezon City • 4-11 October 2016
Before leaving our studio in 27F Mapagmahal Street, I displayed my recent works for friends to view. These works are explorations on tapping on my muscle memory in painting and drawing flowers vis-a-vis the intuitive labor of house work. I’ve also included earlier versions of the series of flower-ovaries continued in different media using the same base of surplus material from my husband’s works. Repetitively creating and doing, while sometimes retreating, is the theme that I am currently immersed with in both artistic and domestic aspects of my state as a woman in society.
KASAMA
Bahay Tsinoy Manila • 23 September - 23 October 2011
My first solo exhibition was made possible through an open call by the Museum of Chinese in Philippine Life in partnership with Zero In X by the Museum Foundation. It tackles the guerilla life of Chinese and Filipinos from the accounts of guerilla fighters during the Japanese occupation as documented by the museum's oral history project.
THE RISK IS THAT OF OPENNESS
Green Papaya, Quezon City • 25-30 November 2010
“The only risk is that of openness” is the third on-site project of Ephemera of Disposable Goods which was a project based on temporal collaborations at Green Papaya Art Projects . Kiri Dalena and Con Cabrera instigated a dialogue with concepts and materials used on public uprisings. Both artists isolated these concepts from the street and brought them indoors to investigate. The Ephemera of Disposable Goods was a program by curator Lian Ladia, which aimed to present a series of collaborations between two artists of similar or dissimilar genres investigating social sculptural projects based on context of time/place, relational works and encounters. Green Papaya’s space became an open studio facility where artists and public engaged in discussions and debates as the artists go through their process of constructions and deconstructions every session.
