Photography, as a medium, has the power to capture moments, convey emotions, and tell stories. For one photographer, their journey began not with a single defining moment but with a gradual immersion into the world of imagery and art. In this BLNC FACETS, we explore the personal experiences, inspirations, and projects of a passionate photographer who has dedicated themselves to the craft. From finding inspiration in fashion and sub-cultural art forms to championing women's empowerment, their work reflects a unique artistic vision and a commitment to storytelling. What first drew you to photography as a medium, and how did you get started in your career? -I don't think there was a singular moment that made me decide to pursue photography, it wasn't a sudden lightbulb moment. It was more of a slow realization brought about by my growing interest and gradual exposure to the world of photography--which I attribute to having signed up on Tumblr in 2008 and discovering a whole world of fashion, photography, and all sorts of sub-cultural artforms. It was what led me to picking up the camera for the first time. I started photographing everything and anything. So much so that it easily became a routine. It also didn't hurt that my best friend shared the same interest and convinced me to pursue it. I never stopped shooting from then on. Later, I realized photography has become a part of me. Can you talk about a specific project or series of photographs that you're particularly proud of, and what inspired it? - I have done a lot of projects that are close to my heart but my recent one, BULAWAN : A photo series, is pretty special to me. It's a photo series sharing my love for my province -- Northern Samar through fashion and photography. When I think of Northern Samar, I see gold (Bulawan). Its dreamy landscapes and beautiful beaches have always been my playground. It's a big part of who I am, especially in my creative journey. How do you approach the creative process of photography, from concept development to execution and editing? I don't have a certain approach when it comes to my process. But I usually start with an element. May it be a fashion trend, an experience, a person, or a song. Then I work around it. I plan everything -- the mood, the direction, and even the editing. Who are some photographers, either contemporary or historical, who have influenced your work or inspire you? I am inspired by a lot of artists both local & international. But Petra Collins' work is such a big inspiration and influence in what I do. Her dreamlike style and her take on femininity and womanhood are just some of the things I admire about her and her work. How do you stay inspired and motivated to continue pursuing photography, particularly in an increasingly competitive industry? What I usually do is stay curious and hungry for learning. I see photography as something that is constantly evolving. And I think being curious and adaptive to these changes can help you grow as an artist. I also try to surround myself with art and explore different art forms. And I think what keeps me doing what I do is my driving force: the need for more female representation. How do you navigate the balance between artistic vision and commercial viability in your work? Balancing between artistic vision and commercial viability in my work isn't the easiest thing. Aside from doing fashion and portraits, I am also an event and wedding photographer. And it's tough, especially when your clients' wants aren't exactly aligned with your artistic style. But over the years, I've learned how to navigate through it. I usually find a common ground. Find the styles that resonate with both my personal creative expression and what my clients want. It is also essential to establish your style with your clients and set expectations. There are times where I'd have to compromise my style to accommodate my clients' demands. And I think being flexible and being adaptive really helps. Can you talk about any upcoming projects or works that you're excited about? I have been planning some personal shoots in collaboration with local artists but I've been swamped with work lately so it's still in the works! How do you approach representation and diversity in your photography, particularly in terms of showcasing a range of perspectives and experiences? If there's one thing that has always pushed me to keep shooting, it's my advocacy for empowering women and giving them something to feel confident about. Women empowerment has always been a big part of my art. It’s the inspiration, the process, but mostly the end-goal. I would say it's the driving force behind my work: the need for representing women in my work in the ways I can. The nuances, the beauty, the struggles, and the strength of being a woman, it is an ever-present inspiration for me to keep creating. I like to constantly try to show the fragility of beauty standards in my photos. Physical beauty can be found everywhere, even in the most unexpected places and faces. I feel it's only right for me as an artist to direct my lens to underappreciated traits that we need to love more. Mostly because that's the kind of beauty I identify with. I've made it a mission to put the spotlight on local women in my photos, with minimal to no frills. What role do you see photography playing in capturing and documenting current events and social issues? For me, I believe photography plays a big role in storytelling, raising awareness, and sharing advocacies. It can initiate meaningful conversations and foster dialogue around social issues. Which I think is much needed now more than ever. It’s a platform where you can help in shining light and bring change to social issues. What advice do you have for other young photographers who are just starting out in their careers? The things I’d like to share to budding artists are: Develop your taste and find your own, unique aesthetic. Convey a message, create an artistic identity, and know what you want to say in your work. Build trust with everyone you work with. Learn to embrace criticism. And lastly, have fun!

In the world of jewelry design, Susanne Verallo stands out as an artist and maker who has embraced the rich tapestry of Filipino culture to craft exquisite pieces under her eponymous label, Susanne Verallo, and her evolving jewelry line, Una Artesana. Her creativity knows no bounds as she weaves stories from ancient myths and legends into wearable art that captures the essence of the Philippines. While metal smithing classes were part of Susanne's initial plan, the pandemic forced her to reimagine her journey as an artist. Undeterred, she turned to alternative jewelry-making techniques and found solace in bead weaving. Armed with an assortment of beads and an unwavering determination, she taught herself the intricacies of this craft through online tutorials, ultimately paving the way for her unique artistic expression. Drawing inspiration from her homeland, Susanne delved deep into the rich cultural heritage of the Philippines. She immersed herself in the world of precolonial myths and folklore, discovering a wealth of captivating stories passed down through generations. It was during this exploration that the seeds of Una Artesana were sown. The first volume of jewelry from Una Artesana, aptly named "Langit," emerged as a testament to Susanne's creativity and connection with her ancestors. Each piece in this collection is a visual manifestation of the captivating tales and legends she unearthed. Susanne skillfully weaves the essence of these stories into her jewelry, giving them a voice and a physical form that resonates with the wearer. Una Artesana has now evolved from a personal project into a full-fledged jewelry line, embracing the essence of Filipino culture in each creation. While Susanne remains open to exploring various mediums and techniques in jewelry-making, her unwavering focus will always be on her beloved Philippines—its vibrant culture, fascinating history, and resilient people. The artistry behind Una Artesana's jewelry lies in the meticulous and labor-intensive process of bead weaving. Susanne employs two primary techniques—loom weaving and off-loom weaving—depending on the design requirements. The intricate off-loom weaving technique, utilizing a combination of bead weaving stitches, forms the foundation of most jewelry pieces. However, some chokers come to life through the loom weaving technique. The dedication and patience required to complete a single piece are truly remarkable. Depending on the complexity of the design, the creation process can span anywhere from 2 to 12 hours. Each bead is meticulously placed by hand, with the artist pouring her heart and soul into every stitch. The result is a wearable work of art that embodies the spirit of Una Artesana—uniquely crafted, culturally infused, and visually captivating. As you embark on this journey with Una Artesana, Susanne Verallo invites you to explore the untold stories that lie at the heart of her jewelry. Through her creations, she breathes life into the myths and legends of the Philippines, ensuring their preservation and celebrating the profound beauty of her homeland. Join Susanne on this artistic odyssey and witness the remarkable fusion of craftsmanship, cultural heritage, and creative expression. Una Artesana's captivating jewelry pieces will transport you to a realm where tradition meets innovation, and Filipino mythology finds its place in contemporary artistry. To learn more about its origins and delve deeper into the artist's world, visit https://susanneverallo.com and embark on an enchanting exploration of Filipino-inspired

Abakada, named after the Filipino alphabet consisting of 20 letters, is not just a streetwear brand—it is a movement that passionately promotes Filipino culture and heritage. Embracing the essence of contemporary fashion and streetwear, Abakada seamlessly integrates traditional Filipino elements into their designs. With a mission to celebrate the country's rich heritage, Abakada is on a journey to redefine Filipino streetwear and showcase the beauty of the Philippines through its unique and culturally inspired collections. Abakada's designs embody a harmonious blend of tradition and modernity. By incorporating elements from the Filipino alphabet and culture, the brand creates a visual language that speaks volumes about the country's heritage. From bold graphics depicting indigenous patterns to cleverly designed garments featuring iconic Filipino symbols, Abakada crafts streetwear that proudly tells the story of the Philippines. With each piece, wearers become walking canvases, sparking conversations and igniting a sense of cultural pride. Rooted in their Filipino roots, Boyon and Calma sought to infuse their designs with elements that reflect the beauty and diversity of the Philippines. ABAKADA Clothing draws inspiration from traditional Filipino symbols, patterns, and cultural motifs, transforming them into contemporary streetwear aesthetics. By incorporating these elements, the brand pays homage to their heritage, creating a visual language that speaks to the pride and identity of Filipinos around the world. Since its inception, ABAKADA Clothing has captured the attention and admiration of streetwear enthusiasts around the world. Through an online presence and collaborations with influencers, the brand has gained recognition beyond the Filipino diaspora, spreading the message of Filipino pride and culture to diverse audiences. ABAKADA Clothing's global reach has allowed it to contribute to the broader dialogue of cultural representation in fashion and highlight the richness of the Filipino experience. ABAKADA Clothing, founded in 2018 by Arvin Boyon and Calvin Calma in Chicago, Illinois, has emerged as a formidable force in the world of Filipino streetwear. By blending Filipino cultural heritage with streetwear aesthetics, the brand has created a unique identity that resonates with individuals seeking fashionable self-expression while honoring their roots. Through their authentic designs, ABAKADA Clothing has cultivated a sense of pride and unity within the Filipino community and beyond. As the brand continues to evolve and expand its reach, it will undoubtedly leave an indelible mark on the streetwear landscape, proudly representing the Filipino culture to the world. INSTRAGRAM: https://www.instagram.com/abkdco/ WEBSITE: https://abkdco.com/en-ph

Photography and Art Direction by Charlie V Real

Art is often seen as an avenue for self-expression, and many artists draw from their own experiences to create meaningful pieces. For queer and disabled artists, their identity can play an even more significant role in their work. We sat down with a Cebuano artist to talk about their experiences as a queer and disabled artist, and how their identities intersect with their art. How does your queer and disabled identity influence your art, and how do these identities intersect in your work? When I was starting out in 2018 with my career, I thought representation was so uncool. I was 19 at the time. I felt as an artist, I shouldn’t be gendered, have a sexual identity or talk about my disability at all. I was committed to the idea that art wasn’t attached to any of those things. Skip to 5 years later, I believe my art is attached to my identity more than ever and it can never be separated. I love this one critic that said this about Georgia O’Keefe who said her art wasn’t in the category of “female art” but the person making it is a woman. I love what my friend and artist Victoria Tanquerido said, who said in an interview that she was happy to be called a woman artist. I’m at a point in my life where I have less conflicts with accepting who I am, but it took me more than a decade to get there. I’m proud to say I’m a queer artist, a disabled artist, a non-binary artist. But it’s also unfair that men don’t have the same standards - I mean, we would never call Picasso a “man artist”. My queerness and disability flows naturally in my art - as the feminist statement goes, the personal is political and the political is personal. What I’m trying to say is, my creativity takes roots in autobiography. If people look deep inside themselves they will find themselves more interesting than who they think they are. If you’re an artist who works with similar subject matter like me, this flows out into the world organically. Painting Special No. 1, watercolor Can you talk about a specific piece of artwork that was inspired by your experiences? All my work is about my experiences - I’m fascinated with the idea of exploring them in many mediums. My advantage as a queer, disabled artist is that I really have nothing to be ashamed at this point. I use the shame and fear people have constantly imposed on me and use it to my advantage. I’ve seen a lot of artists in the queer category who do the same, but often times I can’t relate, with their art being so macho. When I see art like that, I’m happy - but there must be more to art than abled bodies having hot sex. I’d like to talk about my work for your magazine, a collection of works called “INCEST”. I chose these works because I’m currently in intense psychotherapy and we use analysis as our method for most of our sessions. The word incest is so heavy, and it is a feeling. It is a codependency, a mirror, an understanding of abuse. I grew up without a father, and I was thrown into a pack of wolves at an early age because of his death. When I was 12 to 15 years old, as I was experiencing cancer, two men sexually abused me from my family. This caused a lot of turmoil in my life as I grew up - a lot of humiliation and shame towards myself. I was constantly abused until I was 19 and people who were supposed to protect me swept this under the rug. There are many layers to this word, it can be about love too. I became sexually promiscuous as a young boy growing up, and it led me to many interesting experiences with men. Not all of them were painful, some of them were extremely pleasurable. But I still had shame, always this shame about my disability in regards to sex. Like my queerness, I had to hide it ever so often back then. Living in Cadiz, my hometown in Negros, felt like a glass bell from which you could never escape. You can stumble upon love and pain in the most extreme places. I’m currently very happy with the love of my life of 6 years and he loves all of me. I want passion, I want fire, I just want to be loved. Meanwhile, I can carry the rape, abuse, and incest with me everyday like little glass balls in a bag and make sure that they don’t break. I need my memories, they make me feel human - and they become material, prefaces in my life. The Destruction of The Father, acrylic You Are Always There, mono print What challenges have you faced as a queer and disabled artist in Cebu, and how have you overcome them? When I ran away from home and moved to Cebu 4 years ago, it was like another world. I couldn’t speak Bisaya, and could only understand bits and pieces of it. My mother tongue is Hiligaynon, which is more soft spoken and slow. Cebu was a strange land, where I had to constantly ask people to translate their words in English. Until now, I have a hard time speaking Bisaya - no matter how hard I try. I’ve also faced constant humiliation from artist communities not just in Cebu, but also in Negros. With some saying that my work was “pinataka” / *hiligaynon equivalent of “pinalagpat” (it means random) - a word that I actually find endearing. My professor, Raymund Fernandez has always found this word to be positive. I remember one of the best advices he gave me, he said “You must put yourself into a position when you paint where you actually don’t know what you’re doing.” I studied art for 5 years on my own with books, workshops and art school. Of course it hurts when I’m critiqued unfairly, especially when it comes to a point where my disability gets made fun of. I personally have been humiliated by a group of people in the art community publicly, as they shared photos of my work. They called me dumb and stupid, with their friends also joining in the fun, pointing out my disability. I asked myself, do I really deserve this? I overcame this by telling myself, “Christian, you’ve been through worse.. you’ve been through chemotherapy, amputation, rape and so much grief..” but the feeling of humiliation still rises up inside of me. I fought this through courage. The courage to move forward and do my work. How do you hope your art can contribute to greater understanding and acceptance? I think good art comes from pain. But you could also say nothing good ever comes out of pain. I think the fact that my work is out there and I’m given a platform raises awareness to so many things. I love Princess Diana, I could relate to her life in so many ways. When I was 5 years old, my mother had a couple documentaries on her laptop, one was about the Pyramids of Giza and the solar system. The other one was about the Princess of Wales. I admire her for her courage in helping the most marginalized people in society, and raising awareness to issues that were never addressed, like the AIDS epidemic and mental health issues. Here I am severely depressed in my room at times, but watching Diana’s interview about how she coped through self harm and how she conquered bulimia impacted me in a positive way. I wasn’t alone with my struggles. I think a public figure speaking out and being open with themselves can be a catalyst in society. But, it’s up to the artist, the poet, the politician, the writer or the influencer on how to exercise this power and to be careful with it. The Martyr, gouache My Man In Cadiz, glass work How do you approach representation and diversity in your art? I don’t approach representation. I just am who I am. My work flows with everything that I am. I just do, I do my work - and I want it to be good. I sometimes feel as if representation is not enough, and has become a trend, a fad. It’s like that scene from Mockingjay, where Katniss becomes a symbol for the rebellion. I love how she refused to do the regular propaganda, with all it’s glitz and glamour, but instead went out there to assist the wounded in District 5. I don’t believe art can change the world, but it can change how we think about things. It really is up to us all, when it comes down to it. Who are some artists, either in Cebu or more broadly, who have influenced your work or inspire you? In Cebu, Raymund Fernandez. My professor. I came here specifically for him. I was lucky enough to get all his last classes before he retired. But I think the teachers knew how much I adored his work and his teachings, that they had no choice but to place me in his classes. I’m inspired by artists such as Tracey Emin and Louise Bourgeois from a visual level. Egon Schiele and Edvard Munch, J.M.W Turner for my paintings and how I express my emotions. Haruki Murakami’s books, although controversial, became my friends during lockdown and his words have always spoken to me deeply. Anaïs Nin, for her surreal writing, diaries and letters. Arthur Rimbaud, the famous 17th century French surrealist poet, who also had cancer and had his right leg cut off, I could relate to him on a very personal level. Marina Abramovic, Amy Winehouse, Lady Gaga, David Bowie. Patti Smith, I’m so fascinated with her life, writing and art. I started reading again vigorously because of her and have emulated her sense of style, way of life as a journalist and a writer. Robert Mapplethorpe, Yukio Mishima, Maya Angelou, Joni Mitchell.. I could go on and on and on. The Musician, pen and ink Crucifixion, gouache Can you talk about any upcoming projects or works that you're excited about? I’m gonna talk about Drawing Class Foundation, our little art community here in Cebu. We hold classes and events monthly and try to make it fun, uplifting marginalized people through the metaphor of art. We talk about anything, no limits, and form friendships with each other. I’ve always said that Drawing Class was less about art and more about friendship. I’m talking about real friendship, not the “making connections” or climbing your way to the top of the dog-eat-dog art industry that we have here. Art should be enjoyed by everyone, not only by the upperclass, not only by those who buy paintings to make their walls pretty, not only by those who can afford a proper art education. Drawing Class aims to democratize art and I want to make it accessible, especially for queer artists and disabled artists. I’m excited for the future of Drawing Class and how it can change the way we look at art and experience it. We plan to have talks, exhibitions, collaborations and more and more classes and gatherings. I’m so grateful for our team and residency for believing in the spirit of togetherness and authenticity. I’m always working on my art. Day to day, and writing in my diary. I’ve had my slice of cake in the art world and found it to be not so interesting. What excites me the most right now is the work that I’m doing now, with BLNC magazine, Rappler, with Drawing Class, with psychotherapy. I’m part of commercial shows as well, but my goals are less about making it as an artist and more about how to be a more compassionate human being with myself and with others. How do you see the role of art in creating social change, particularly in terms of advancing the rights and visibility of marginalized communities like queer and disabled people? Art has always been a catalyst for great change in society. But I believe that good art really creates great change. Not all artists are out there to make impactful work, and would rather be happy painting by the sea like Turner. There’s nothing wrong with that. But it’s just not the artist that I am. You see, art doesn’t need to be political because it already is political enough. For example, my self portraits were just little drawings of me, but through the power of art they became meaningful to others, they became pregnant with meaning. I’m more concerned about the role of the artist in today’s world. I think artists should speak up about climate change more than ever because it affects us all. I made a piece for the Joya Awards speaking out about how disabled people and the elderly are the most vulnerable when it comes to climate disasters. I think this should be our main goal, especially in this country where typhoons, landslides and other extreme weather conditions continually face us. It only gets worse and worse every year. I also love this word.. “visible”. My psychologist told me, “You know Christian, there is a difference between being ‘seen’ and being ‘visible’..” being ‘seen’ implied that I was uncomfortable with people’s stares at my missing leg. I felt like a freak. But art made me ‘visible’. People had more compassion and understanding about who I am as a person, that I had many multitudes apart from my disability and queerness. Like Walt Whitman says, “we contain multitudes.” I have many.. How do you balance creating art that is personal to you and also resonates with a broader audience? I'm a musician, as well as a poet, as well as a writer, as well as a painter. I make little films, I take photographs with my polaroid camera. For me, being an artist isn't just about doing one thing. Like Louise Bourgeois, like Picasso, they expressed themselves in many, many ways. I think this is the advantage of the outsider artist. I don't think I'm ever gonna be part of the establishment, even though people think I am. They have it all wrong. When a gallery or the academe wants me to do one thing, I always do the opposite. It's just my nature. I don't have a style and I'm not interested in mastery. I think it's important to stand your ground as an artist and not be so enamored by the green disease of money and fame. The illusion of acceptance. I always found this to be tricky. I've always been displaced. I've always felt like a waif. I'm not like other artists who kneel before businessmen and lick their boots. My art has come all this way, my leg has been chopped off - do you think I'd still be interested in impressing people? If I died from my cancer before, if I didn't survive - would little Christian be happy in his coffin if I made art that made rich people's houses even more beautiful? Sometimes I get baffled by the nepotism in the art community, how some artists can get away with making fodder art while the good artists are set aside. I don't see much disabled artists or queer artists, where I come from and we're always in the corner. When establishments need us, it's always in the context of making them look good. Drawing Class would never treat people like that. We celebrate our identity every month, every class, and in everything that we do. I'm tired of conforming to a public that doesn't fully embrace me. What advice do you have for other young artists who may feel marginalized or overlooked in the art world? I love this quote by Marina Abramovic, "When people say 'no' to me, it's just the beginning." I think it's very difficult to be a human being these days, not only as an artist. You could get sick, run out of money, amongst other things. The best advice I could give to young, marginalized artists is so cliche, but you have to believe in what you're doing and don't let anyone tell you otherwise. Don't let life stop you in it's tracks. You have to keep going. I'm very lucky. I'm very privileged to still get to do what I love, which is art. But I'm also a hard worker and have a lot of discipline. But luck goes a long way, I believe. It's not just about hard work. Sometimes awful things in life really happen, and it can really give you no choice. Life can be cruel like that, but it doesn't mean that we shouldn't be grateful to be alive. I'm grateful, I'm so thankful that after all this time, I'm still here. I still get to enjoy what the world has to offer, a new book, new songs by my favorite artists, new films.. take care of your health. Take care of your work. Surround yourself with people who support you. Be a friend. Have some compassion, with yourself and with others. Always remember as an artist, you have the privilege and freedom to fail. Don't fall for the illusion of success. Have some discipline, I think this is understated.. you have to prioritise your work more than anything else. Because no matter how hard it was for me, my art has always, always been there to save me.

Curated by Pia Mercado "The decision to hold and curate this exhibition of 'Mother and Child: Reimagined and Recast by 40 Contemporary Artists', came effortlessly to me. I chose artists with whom I have a personal and professional connection with, artists whose works I am intimately familiar with. Viewers of this exhibition will get a chance to appreciate a diverse range of art from abstract, figurative, pop, surrealism, impressionism, sculpture, and even photography. This show is an avenue for these artists to showcase their individual styles while beautifully and expressively capturing the theme. It's a testament to the power and beauty of art that so many different styles and approaches can all contribute to such a powerful and cohesive display. I cannot emphasize enough how proud I am to have established a rapport with all of these artists for this show. As we all know, the theme of 'Mother and Child' is universally relatable, so it did not take long for them to commit to being a part of it. Despite my relative lack of experience as a curator, working with all 40 of these artists has been quite a ride. I have learned things that I normally wouldn't have if I weren't the show's curator. For one, while we strive to run a smooth show by adhering to deadlines and managing logistics, we are actually dealing with 40 distinct souls, personalities, and stories and this is not a purely transactional process. Artists are not mere art-producing factories, and I have developed compassion to understand and adjust to each artist's individual circumstances. Neil Carandang "Dadamba" JEFFREY SISICAN "Mother Nature and Child" Mixed Media on Canvas The role of a curator goes beyond conception, selection, and the hanging of the works. I have gotten to know some of these artists even better, learning about their current projects and where they are headed next. I have also had discussions about some of their struggles, both as an artist and as a human being. While technology and delivery services have made the art world more accessible, it's important to remember the human factor involved in creating art and putting on exhibitions. It was so heartwarming to be able to see and interact with other artists face to face after months or even years of just staying in touch online due to the pandemic. This exhibition, like most, is not meant to be a one-way street. The artists learn from their audience while the audience learns from the artists. The curator learns from the artists, the artists learn from the curator as well. It’s a cycle that can keep going endlessly, and if you agree to this, even just the slightest, then the show has served its purpose. Thank you all for being a part of this journey. This exhibition is not just about me or the artists involved, it's about all of us. We all contribute to the art world in our own way, and I am grateful to have shared this experience with you." -Pia Mercado RA TIJING "The BlackSheep" Acrylic on Canvas JOSEPH ONG "Mom / Wow" Mixed Media on Canvas JUN ESCARIO "Mother and Child" Abaca on Canvas NEIL FELIPP "Mother & Child Series 01" Hand-sculpted brass sculpture, plated in 24K gold MARK MASA "Sa Piling Ni Nanay" Mixed Media On Canvas "Having spent a considerable amount of time in the art world, I felt compelled to curate the Mother and Child exhibition and collaborate with 40 different artists, even though I am not yet a mother myself. My interpretation of the theme is rooted in my role as a mentor to these artists, in many ways acting as a "mother figure" in their careers. Watching them grow and develop their skills has been incredibly fulfilling, and I wanted to create a platform that celebrated their talents and showcased their unique perspectives. Therefore, this exhibition is my personal interpretation of the theme, a reflection of my deep respect for the artists I have worked with and my belief in the transformative power of art. The artworks featured in this exhibition are not the traditional interpretations of Mother and Child paintings that one might expect. Rather, they represent the unique and diverse perspectives of the contemporary artists that Qube Gallery has had the pleasure of working with over the years. These artists have brought their own experiences, emotions, and creative impulses to bear on the theme, resulting in a fascinating and thought-provoking collection of artworks." - Pia Mercado Mother and Child: Reimagined and Recast by 40 Contemporary Artists 11 May 2023, Qube Gallery Crossroads Banilad This exhibition features the interpretation of over 40 artists and photographers handpicked by one of our directors, Pia Mercado, wearing the hat of a curator for the show. Participating Artists: Alee Garibay Alyssa Selanova Andre Chan Arlene Donaire Belle Maurice Boy Kiamko Budoy Marabiles Carmen Araneta Ceasar Azanza Christian Villanueva Dani Yu Distort Monsters Dondi Joseph Gabi Nazareno Geovanni Abing Golda King Greys Lockheart Hersley Casero Ivy Marie Apa Jan Sunday Jan Michael Tauro Jay Jore Jean Govinda Jeffrey Sisican John Villoria Jose Mari Picornell Joseph Ong Jun Escario Jjawzip Ingking Karina Broce Kean Larrazabal Les Amacio Lhee Taneo Mark Masa Mijan Jumalon Neil Carandang Neil Felipp Nicole Asares OJ Hofer RA Tijing Red Genotiva Ronyel Compra Soika Vomiter Thom Jopson Uzi Emperado Xandro Romualdez

A Photo Exhibit by Ennuh Tiu KILUSAN, a creative collaboration between FaDAL designers and KMC Solutions, is a photo exhibit that showcases the unique and diverse creations of Filipino fashion and art. From May 10-24, visitors have the opportunity to experience the intersection of fashion and art and the collaborative process behind the exhibit. The exhibit is powered by Aputure Philippines, who provided the high-quality lighting equipment that helped bring the photographs to life. As a fashion photographer, developing a signature style is crucial in establishing oneself in the industry. It takes years of creative experimentation, exposure to different types of work and people, and a willingness to take risks and try new things. However, even established photographers are constantly learning and seeking inspiration from different sources. One of the most challenging parts of developing a signature style is figuring out what you want to achieve visually and then learning to apply it in your work. It's crucial to stick to who you are and what you want, and to try to put your own spin on any influences you draw from. It's also important to be adaptable and have a backup plan in case something goes wrong during a shoot. When selecting final images for a project, it's important to consider the project's purpose and audience. For fashion photography, it's important to highlight the expertise of other creative collaborators, such as makeup artists, hairstylists, and designers. For aspiring fashion photographers, the advice is to find inspiration, stay curious, and train your eye. Experimentation is key to developing a unique style and taking risks can lead to great rewards. It's also important to share knowledge with others and build a community of like-minded people. KILUSAN is a celebration of Filipino fashion and art, a visual testament to the hard work and creative spirit of everyone involved in the project. It's an opportunity to experience the intersection of fashion and art and to be inspired by the creativity and collaboration behind it.

When it comes to modeling and influencing, it takes more than just a pretty face to make an impact in the industry. For some, it’s about using their platform to advocate for important causes and promote positive change in their communities. This is the case for young model and influencer, Liam Labrooy. How did you first get into modeling and influencing, and what drew you to these industries? Starting from a young age, I loved taking photos and dressing up. I loved expressing myself through my clothing choices and loved finding creative ways to present that through photos. Only recently did I start to take it more seriously as a real job. I started out modeling for my friends and doing the occasional test shoot but it was only when I was invited to walk in last years BYS Fashion Week did I realize I wanted to take things more seriously. Shoutout to Kyle (@cruz__kyle) of Cruz Manila (@cruz.mnl) and RJ (@rjsantos) of Randolph Clothing (@randolfclothing) for giving me a chance! As a model and influencer, Liam uses his platform to advocate for causes and raise awareness about important issues. He grew up in Boracay and frequently goes back and forth to help out with his family's businesses. Liam created a brand called WDYGYS (Where Did You Get Your Shit) with his friend Favour Ajah, and they are in the process of creating products locally sourced from Boracay. Liam wants to highlight and support the creative people on the island by organizing relief projects for young locals and feeding programs to help the local community. Although he doesn't feel the need to post about these things on social media, Liam uses his influence to help his community in any way he can. How do you balance your personal brand and identity with the expectations and demands of the modeling and influencing industries? I’ve actually struggled with this a little. I know that I don’t fit under the typical model or influencer in the Philippines and I feel like I have definitely lost some work or opportunities cause I look and act differently. But I’ve learned to trust the process and to believe in myself. I love what I do and the content and work I produce and I just need to believe that other people will see that and recognize it one day! Can you talk about a specific campaign or collaboration that you're particularly proud of, and what made it meaningful to you? I recently did a campaign with Vision Express and it was my first time seeing myself in a store! Crazy to think I was shopping in the store just a year prior. The fact that the team trusted me to have my face plastered all over their social media and stores is amazing haha. When it comes to navigating the potential pressures or challenges of social media and online visibility as an influencer and public figure, Liam used to care so much about what he posted and what people thought of his content. Now, he posts what he wants in real-time without filtering or editing. Liam's page is for him, and if you don't like what he posts, then unfollow him. Social media is fun for him, and he wants to keep it that way without overthinking it. How do you navigate the potential pressures or challenges of social media and online visibility as an influencer and public figure? I used to care so much about what I posted and what people thought of my content and now I just merely post what I want. My friends usually make fun of me cause usually I post in real time haha. Once I take content, I usually post 1 min after without filtering or editing! My page is for me and if you don’t like what I post just unfollow me. Social media is fun for me and I want to keep it that way; I would hate to overthink it. What role do you see models and influencers playing in promoting diversity and inclusivity in the fashion and beauty industries? It’s nice to see more diversity in the industry. I think we have a lot more to do to create more inclusivity but I like that brands are slowly trying to diversify. I think rather than just waiting for brands to reach out, I think it is also important to put yourself out there and get noticed! What advice do you have for other young people who aspire to enter the modeling or influencing industries? Be yourself, know your brand and just keep at it. Not everyone is going to believe in yourself but keep at it and people will see your talent eventually. I also love collaborating with different artists. Test shoots are always fun cause there are no limits. You also get to work with different people in the industry! Whether that be photographers, HMUAs, and fellow models/content creators!

What do you think is Asia's major role in Art? Asia has a diverse culture and rich history reflected in our Art. It has many countries that are different from one another, and with that, I think Asian art can offer endless experiences and inspiration to people worldwide. Also, with our art, you can immerse in the culture, lifestyle, history, and vibrant landscapes, which are different from western art. Describe the art scene in the Philippines. Where I am from, the art scene is very much alive. When you visit Cebu, art is evident even on the streets. We also have painting exhibits, galleries, and organizations where emerging artists can join, interact and share ideas. Being in a club also helped when I first started with digital art. It gave me ideas about suitable devices, the programs to use, where to land clients, etc. Social Media also plays a significant role in showcasing our artwork. I've connected with artists across the Philippines and met clients locally and internationally. Where is a good place to seek art inspiration in your country? The Philippines has different cultures, languages, food, and scenery. Every region is somehow different. You can find inspiration anywhere. But for me, since I love illustrating people and fashion, Cebu is a great place. It is a bustling city. The people are trendy, excellent art community and you can easily immerse yourself in nature, you can go up in the mountains and the sea just a few hour's drive from the city. But I also get inspired whenever I travel, Like when I went to Siargao, I got inspired by its chill and vibrant summer vibe lifestyle. That made me draw many women on surfboards, bikinis, and beaches. I am Sybil Viviene Mulig-Emphasis, 30 years of age and currently based in Cebu, Philippines. I am a Licensed Civil Engineer, but I fell in love with art and fashion. I did not study any formal art classes. I only did summer art classes when I was a kid, so that was the closest art education that I had, everything else is from youtube, books, and self-taught. 5. Tell us how did you get into Digital Art. When did your interest in painting start? My interest in art and painting started very early in my childhood. I remember I would fill my notebooks with sketches of women and clothes. When my mother noticed my interest, she enrolled me every summer in an informal art class, where I learned the basics. When I went to college, and it was time for me to choose a career path, Fine arts or fashion-related courses were not on the cards. Firstly because it is expensive, Secondly, my mother was sick at the time, so money was tight, and thirdly, Art related courses were frowned upon because they said: "it will not generate money." So, the good choice was to stay in my hometown and study civil engineering. Time went on, and I became a fully pledged civil engineer, but my love for art and fashion is still there. So I ended up quitting my corporate job and started illustrating. It was not I got on Digital art because, at the time, it was convenient, and I could land clients more easily. And from then on, there was no turning back. How will you describe your style in illustration? My illustrations are relatively simple. It is not very detailed and is kind of messy. It's a minimalist style with only a simple background, but I also love a splash of bold colors on the clothes. I don't consciously think about what my art style would be. I just let the art flow and do this magic. I also want to try out different styles and more complex art in colors and composition in the future so I can tell a better story. Tell us more about your exhibition – what's the story / inspiration behind this? These illustrations are a homage to the vibrant collections of major fashion houses.It is Inspired by its elaborate designs and bold colors. Two of these illustrations feature filipino fashion influencers and a design from a filipina fashion designer, Cheetah Rivera. I also love to celebrate filipino fashion in my illustrations to showcase how philippine fashion can compete on the world stage. Did you experiment or had a new approach to this particular artwork set? I experimented with the color palettes and how I can emphasize the colors and details of the clothes more. I also made the poses more dramatic than the reference photos. What's next for you? Any exciting plans for the future? After being on hiatus for a year because I gave birth to my son, I will be opening my online shop soon and hopefully will be able to launch my youtube channel next year as well. I will be offering a different kind of merch and the exciting part is that I will be making it in the comfort of my home. Also, I will be venturing into traditional art more and event illustration and doing live paintings on-site. I'm sure it will be fun! 9. What's your ultimate goal as an artist? The goal is to work with global brands, and my art will be widely recognized across the creative scene. But what keeps me going every day is that I wish my art could bring happiness to others. I hope it is something they can relate to, or feel empowered and inspired by. Just making a difference one art at a time. And with that, I could reach my ultmate goal. What is your motto in life? There is this quote from Ralph Waldo Emerson that says "what lies behind us and what lies before us are tiny matters compared to what lies within us". This quote is very powerful because often when I feel down, it gives me a little courage to try again and reminds me that I have the potential within me to reach my goals. I have to work on it a little harder and be braver; the rest are just tiny matters. Where can people contact you or see your work? You can see my works on my Instagram @sviviene.art or send me an email at vivienemulig@gmail.com;'

Tell us about yourself and your brand ( tiediet). Elevating tie-dye involves taking an old art form and turning it into something new and modern. This can be done by experimenting with different color combinations, pattern designs, and fabric materials. Collaborating with other artists allows me to get exciting ideas to be shared and explored. This can include combining tie-dye with other forms of art, such as painting, embroidery, or photography. Finally, creating magic with colors can involve manipulating the colors of the fabric to create a unique and one-of-a-kind look. This could include using fabric paints, bleaching, or dip-dyeing to achieve a desired outcome. Any childhood memory related to your early beginnings of being an artist? Weirdly Pokémon resonated with me. So I’d always be fascinated with all the new Pokémon’s coming out.I’d always try to collect them all, and I’d love to battle with my friends. I’d also watch the episodes, movies and play the games. It was a big part of my childhood and I’m still playing it to this day. It’s a great way to bond with friends and battle against each other. How would you describe your style? Gemini fairy with a little bit of grunge Where do you seek inspiration? Nature, food, and all the art around me. Tell us more about your brand, where it is started? It started with me customizing ukay pieces in 2013. I had a IG thrift shop for college. That gave me the platform to be creative with making old pieces into new ones. From there, I started to make my own designs and sell them.I started to collaborate with other local designers, manufacturers, and artisans to create limited edition pieces. My designs have been featured in several fashion shows and magazines, and I have been able to grow my brand and create a loyal customer base. I am currently working on launching my own clothing line, with a focus on sustainable fashion. I believe that fashion should be accessible and affordable for everyone, and I strive to create unique designs that are made with quality materials and attention to detail. I am passionate about creating pieces that will last and be loved for years to come. Do you have any particular favorite collection? No. I haven’t made my favorite collection yet. What makes you do clothing brand? what urges you? Honestly my angels. Haha. I’m not kidding! Define art ( what is art for you for this generation ) Art is an expression in different forms. You can use it to heal. You can unleash your frustrations and pain. You’re basically using art as an expression of your current state. So Art for me is an essential key to unlocking my full potential as a creative. To you, what makes a good artist at this time and age? Consistent and nonconformist artists. Someone who is able to remain true to their own personal vision and create compelling and original works that stand out from the rest. Someone who is able to stay relevant and current, while also staying true to their core values and beliefs. Whats your personal motto in life? Love and gratitude What is next for you? Any exciting projects, new collection? Fashion Fundraiser with The Company Cebu this Feb Where to contact you or where can people see and buy your clothes? IG @tiediet

My name is Michael Oliver Love, I’m based in Cape Town, South Africa. I am a self-taught photographer with an educational background in English literature & gender studies. I have always been in love with fashion editorials since a young age. Would love to pick up the latest Glamour or Marie Claire from the local newsstand and flip to see what beautiful images were shot that month. It wasn’t till I was about 17 that I realized that I could also try my luck at taking beautiful images if I really wanted to. So I picked up a camera and started shooting my friends and just grew from there. These days my photography focuses on men, looking into deconstructing modern masculinity and presenting a more gentle, soft, and vulnerable side to my models. I am obsessed with the beige, brown, and sandy color palette which I was very inspired by for this shoot. From the leather to the wood panel floors and the boy's skin, it was just a dream come true. Photography and Styling by Michael Oliver Love Models: Reatile Mohlaoli Okechukwu Ojukwu Newton Igwele

Featuring Kamilla https://www.instagram.com/gintong.bathala/ Photo by Resbon Despi https://www.instagram.com/resbondespi/