For this presentation, Villamael will premiere a new body of work that builds upon his ongoing dialogue with the contentious subject of Philippine History.
Ceramics and Collectivism at Silverlens: Tessy Pettyjohn, Jon Pettyjohn, Joey de Castro, Shozo Michikawa, and Alvin Tan Heck
SILVERLENS opens 2019 with Watchfire, a group exhibition that brings together five artists who have each made a critical contribution to the development of contemporary ceramics in Asia: Tessy Pettyjohn, Jon Pettyjohn, and Joey de Castro of the Philippines. Shozo Michikawa of Japan, and Alvin Tan Teck Heng of Singapore.
Gathering close to two hundred works selected by the artist, the exhibition also displays a selection of figurative drawings which shows the artist’s range of cognitive, and tactile dissertations.
Artisan Communities Inspire Thao Nguyen Phan’s exhibition “to paint/to weave” at Arete, Ateneo Art Gallery
To paint / to weave is a series of watercolor paintings on Vietnamese silk depicting the scenario of women weaving in various forms.
“Continuing Spirit: Alfredo Esquillo,” a 25-year retrospective, gathers 37 of Esquillo’s major works representing various artistic stages.
Ayala Museum, with the support of the National Commission for Culture and the Arts, presents Images of Nation: F. V. Coching, Komiks at Kultura, a tribute to one of the most prolific figures in Filipino komiks’ golden age.
Catch it before it concludes this Saturday, 9 December.
Henrielle Pagkaliwangan’s exhibition, “Fragmentary Conversations,” at the BenCab Museum, takes off from the collection of the museum, specifically its notable array of bulul artifacts.
“six hundred and fifteen thousand four hundred and eighty eight” is a continuation of the project “one million dollars” which was exhibited at Artspace following her residency there in 2006.
SILVERLENS is pleased to announce the solo exhibition of Alfredo Esquillo, one of the highlights of his silver anniversary celebration as an artist, and his first with the gallery. Titled Balik-Loob, the show revisits Esquillo’s fluency in the medium of oil-on-paper, which the artist methodically began exploring at the beginning of the millennium.