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CCP 21AM Collection Artworks on Display at the National Gallery Singapore

The Cultural Center of the Philippines (CCP), through its Visual Arts and Museum Division, has loaned five significant artworks from its collection to the National Gallery Singapore (NGS), reinforcing its ongoing efforts to bring Philippine art to a wider international audience. This initiative not only showcases the depth of Filipino creativity but also helps strengthen cultural ties across Southeast Asia, fostering greater appreciation and collaboration in the region’s vibrant arts scene.

The artworks from the CCP 21st Century Art Museum (21AM) Collection — Painting No. 1 by National Artist Jose Joya; Portrait of Fernando Zóbel and Fernando Zóbel Lecturing on Art and a Student Listening II, both by David Cortez Medalla; Calligraphic Oracle by Manuel Rodriguez Sr.; and Ku III by Fernando Zóbel — are featured in NGS’s first-ever solo exhibition dedicated to transcontinental abstract artist Fernando Zóbel (1924–1984).

Born in the Philippines to a prominent Spanish family, Zóbel was an avid traveler, a cosmopolitan thinker and writer, and a pioneering collector who established two modern art museums in the Philippines and Spain. His lifelong, wide-ranging interests shaped his expressionist and abstract works in drawing, printmaking, painting, and photography.

He held his first solo exhibition at the Philippine Art Gallery in 1952, invigorating the postwar art scene in the country. In 1960, Zóbel left the family business in the Philippines to fully devote himself to artistic pursuits.

The inaugural showcase of his works in Singapore, the exhibition Fernando Zóbel: Order is Essential, introduces this legendary visual artist to new audiences, offering insights into his multifaceted contributions as an artist, patron, collector, and scholar. Featuring over 200 pieces — including paintings, drawings, prints, photographs, and archival materials — the exhibition highlights Zóbel’s role in bridging cultural contexts and enriching global dialogues on modern art.

According to the CCP Encyclopedia of Philippine Art, David Medalla’s Portrait of Fernando Zóbel marks an early phase in the artist’s exploration of unconventional expression. The work emphasizes the flatness of the canvas through simple, linear forms inspired by children’s drawings and so-called “primitive” art. It also reflects a strong Dadaist influence and aligns with the raw aesthetic of Art Brut, blending satire and playfulness – characteristics that later became hallmarks of Medalla’s practice.

In the portrait, the usually refined and esteemed business tycoon Zóbel is reimagined through a whimsical lens. Using mixed media on black paper, Medalla transforms him into a playful figure with an exaggerated grin, subverting the formality typically associated with portraiture.

The piece was part of Medalla’s debut solo exhibition, which featured large-scale paintings incorporating unconventional materials such as sand, seashells, and gravel with oil paint. This portrait is one of three paintings depicting Zóbel in the CCP 21AM Collection; the others are also titled Portrait of Fernando Zobel and made in 1956.

In Fernando Zóbel Lecturing on Art and a Student Listening II, Medalla uses pen and ink on paper to depict Zobel, who was widely known for his Saeta series.

Reflecting the development of Philippine modern art, Manuel Rodriguez Sr. presents a collograph with orange linear strokes dominated by a deep green background in his work, Calligraphic Oracle.

Painting No.1 by National Artist Jose Joya depicts his abstract expressionist influence through bold images of irregular geometric shapes with overlapping patterns. This style was influenced by his travels and studies in Spain in Europe.

Named after Zóbel’s famous remark that guided his artistic practice, the exhibition sheds light on a lesser-known aspect of his abstraction – a meticulous and controlled creative process involving multiple iterations before finalizing each work.

Fernando Zóbel: Order is Essential follows the exhibit Zóbel: The Future of the Past, which opened at Museo Nacional del Prado (2022) in Spain and was later restaged at the Ayala Museum (2024) in the Philippines. Expanding on key narratives, NGS’s distinct and refreshed iteration introduces exclusive works and offers a unique perspective on Zóbel’s artistic evolution and transcontinental practice.

Spanning two gallery spaces, the exhibition is organized into five sections: “Half of This Haunted Monk’s Life,” “With Every Single Refinement,” “Thin Lines Against a Field of Colour,” “Movement That Includes Its Own Contradiction,” and “The Light of the Painting.”

The exhibit opened on May 9 and will run until November 30, 2025, at the Wu Guanzhong Gallery and Level 4 Gallery at National Gallery Singapore. For more information on Fernando Zóbel: Order is Essential, visit: https://www.nationalgallery.sg/sg/en.html. To get the latest on the CCP 21AM Collection, visit the CCP website (www.culturalcenter.gov.ph).

 

#CCP  #21AMCOLLECTION #NationalGallerySingapore #rubyspreciousmoments #rubyasoyph

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Celebrating Philippine Textile Excellence: Likhang HABI Announces 2025 National Weaving Competitions

In a country where cultural identity is woven into the very fabric of its history, HABI: The Philippine Textile Council proudly announces the launch of the 8th Lourdes Montinola Piña Weaving Competition, and the 4th Eloisa Hizon Gomez Abaca Weaving Competition, inviting master artisans and weaving communities across the archipelago to showcase their extraordinary craftsmanship.

This year’s competitions will culminate at the 15th Likhang HABI Market Fair on October 10-12, 2025, to be held at a new, more expansive venue: SPACE in One Ayala, Makati. The larger location reflects the growing national appreciation for these ancient crafts that have been passed through generations of Filipino hands.

“We want to give voice and value to the hands behind every woven creation,” says the council’s founder, Maribel Ongpin. “The artistry of Filipino weavers deserves a national stage.”

Celebrating Two Iconic Philippine Fibers

In an era dominated by fast fashion and mass production, these competitions stand as powerful reminders that sustainability, heritage, and identity can be preserved through the patient work of skilled hands. The spotlight will still be on piña and abaca fibers, deeply connected to Filipinos’ cultural identity. The delicate, translucent piña, made from pineapple leaf fibers, has been a symbol of Filipino elegance for centuries; on the other hand, abaca, known globally as Manila hemp, represents the strength and versatility of Philippine natural resources.

The two competitions build upon last year’s impressive showcase of talent. The 2024 Piña Competition celebrated Edgar Cornito’s “Piña Silk, Black and Gold Sinuksok” with first place honors, followed by Raquel Eliserio’s “Rosas de Papel with Rengue” in second. Third place resulted in a tie between Rosalvie Tumaca’s “Piña Silk Kalabasa” and Perlie Florencio’s “Piña Silk Multi-Harness Geometric Pattern.” Special recognitions went to Jannalyn Rasonable, who received the Nadres Young Weaver Award, while Ursulita Dela Cruz and Therese Angela Sulang earned the Filip + Inna Innovation Award.

The Abaca Competition similarly celebrated extraordinary craftsmanship with outstanding creations such as an Abaca Fino Barong by Rolly Arboleda of LA HERMINIA WEAVING INDUSTRY, and an Abaca Macramé creation by Arlene Yamog and Mayra Iledan.  Other notable winners from past years include Myrna Pula for her entry “Doub Basag” (Palm Leaf); Annaliza Angcoy of TADECO for her entry T’nalak “Hafak Menual” or Wings of an Eagle; and Rey Rosea Monon Dillera of the Bagobo Tagabawa community for her submission, inabel design. Ms. Dillera is the daughter of  Salinta Monon, who was a recipient of the National Living Treasures Award (Manlilikha ng Bayan) in 1998, for dedicating her life to preserving her craft and establishing the School of Living Tradition in Bansalan, Davao del Sur, where she taught the art of weaving to younger generations.

Under the piña competition, winners from previous years include Ursalita de la Cruz, Anna India Legazpi, and Melanie Palmon of Sr. Alfred Crafts Aklan.

Mechanics

Entries will be judged on authenticity, creativity, technical skill, and cultural narrative, with winners receiving recognition, cash prizes, and national exposure to cultural institutions, designers, and textile enthusiasts.

For the 8th Lourdes Montinola Piña Weaving Competition, there are three categories that participants can enter: Liniwan, Pure Piña, and Natural Fiber Blends with Piña, (Seda/ Jusi/Cotton/ Abaca). Entries must have a minimum length of two meters. There are no structural limits on the width, and, for the Liniwan category, the fabric must be plain (with no design). Additional points will be awarded for the use of natural dyes. A list of materials used and a detailed description of the processes involved in making the piece must be included in the submission.

On the other hand, for the 4th Eloisa Hizon Gomez Abaca Weaving Competition, the following categories are open for entries: Ikat (dyeing technique used to create distinct patterns), Abaca Craft (handcrafted creations made from pure abaca, not necessarily woven), and Nipis (fine, woven pure abaca). Submissions should have a minimum length of two meters and a maximum length of six meters, and there are no structural limitations on the width, Additional points will likewise be awarded for the use of natural dye.

HABI extends this year’s invitation to weavers, weaving communities, and independent artisans from across Luzon, Visayas, and Mindanao, who can send their creations to the Habi office at 962 May Street, Mandaluyong City. The competition particularly aims to elevate regional weaving practices, bringing visibility to communities where these traditions remain vital cultural practices.

Interested weavers and communities should submit their entries on or before September 1, 2025. Full competition details and entry forms are available on the HABI website at www.habiphilippinetextilecouncil.com or directly via https://bit.ly/3ESE734. Additional inquiries may be directed through HABI’s social media accounts
Facebook – https://www.facebook.com/HABICouncil OR
Instagram https://www.instagram.com/habicouncil/ or via HABI’s
Website – https://www.habiphilippinetextilecouncil.com

#HABI #PhilippineTextile #callforentries #rubyspreciousmoments #rubyasoyph

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Ceramics and Puni Art Unite at Ascott Makati’s Celebration of Filipino Craftsmanship

For years, Ascott Makati has stood as a landmark in the heart of Makati City, earning recognition as a trusted 5-star hotel and luxury serviced apartment. While delivering warm Filipino hospitality and world-class service has always been its foremost commitment, Ascott Makati has, in recent years, taken meaningful steps to champion initiatives that celebrate, preserve, and uplift the country’s rich culture and heritage. Its latest project, Likha: Ceramics and Puni, is a month-long exhibit that showcases two proudly Filipino forms of craftsmanship.

Art connoisseurs are no strangers to the ultra-talented husband-and-wife team, Jon and Tessy Pettyjohn. Long recognized as pioneers of contemporary Philippine ceramics, the Pettyjohn’s first fell in love with the craft in the 1970s, drawn to the endless possibilities of molding and shaping clay. Their passion for ceramics deepened when they naturally began sharing their knowledge with others. Though initially hesitant to take on the role of teachers, their willingness to mentor soon led to the growth of a thriving community of ceramic artists in the Philippines. To this day, the Pettyjohns continue to welcome students and visitors to the must-visit Pettyjohn Pottery in Laguna.

For Likha, the Pettyjohns are showcasing pieces from their personal collection, created over the past 10 years, that hold special meaning for them. Many of these works have a sculptural quality while still maintaining their functionality — a signature of the Pettyjohns, who are well known for their useable art. When asked to further describe his work, Jon shared, “Our goal is to bridge art and function, to blur the line between. Flower arranging vessels are perfect for this kind of experimentation.”

Among the highlights of the exhibit is Tessy’s ‘Star Trek’, so named because its shape resembles the iconic Federation logo — a challenging form she constructed in porcelain. Jon, meanwhile, presents his ‘Anagama Dance’ series, created through a three-day firing process that produces a subtle, natural ash glaze effect — quite literally painted by fire.

Puni, on the other hand, is a Tagalog or Filipino word which means to decorate or beautify. For Ascott Makati’s Likha exhibit, it refers to the traditional art of weaving, folding or braiding leaves which is only formally taught in Malolos, Bulacan. Inspired by the beauty of Palaspas and the rich tradition of Palm Sunday, Ascott Makati turned to two of Bulacan’s champions of Puni art— Punique Handicrafts and Puni de Malolos.

Punique Handicrafts is a social enterprise founded by Jonnah Garcia, whose mission is to provide sustainable livelihood opportunities and empower female weavers in her hometown of Bulacan through the creative revival of Puni art. While her advocacy is admirable in itself, what makes it truly stand out is her innovative approach to reviving this traditional craft and transforming it into contemporary, functional art.

Once limited to Palaspas, food containers, and toys, Puni has been reimagined by Punique Handicrafts into fashion accessories, bridal bouquets, and home décor. The brand has also expanded its reach beyond the Philippines, with products now available in Canada and Hong Kong.

At Ascott Makati’s Likha exhibit, Punique Handicrafts artfully complements the ceramic creations of Jon and Tessy Pettyjohn with their own intricate, handcrafted Puni pieces. Their detailed handwoven components are inspired by what is seen in nature. Punique will showcase handmade flowers such as roses, dandelions and lilies together with leaf and bead accents known as their interpretation of the pabo real, tigbi, butil and the famous banig or mat. These elements will be turned into one-of-a-kind masterpieces by their Senior Designer Mr. Henry De Guzman.

Ascott Makati goes beyond simply mounting an exhibit. This marks the introduction of a new brand touchpoint for the hotel — with the aim of making Puni art more visible within the property and giving guests the opportunity to learn about this beautiful Filipino tradition. This initiative was made possible through a collaboration with Puni de Malolos, represented by Tourism Officer Marichelle Bernardo, who conducted a training session for the hotel’s Housekeeping team.

Puni de Malolos is a well-known champion of palm weaving in Bulacan. Under Bernardo’s leadership, the group has been actively teaching the art of Puni to inmates, students, and individuals of all ages across the country.

Ascott Makati’s Likha: Ceramics and Puni officially opened on May 29 with an intimate cocktail gathering attended by hotel guests, corporate clients, and friends from the media. Welcoming everyone to the occasion was Cluster General Manager Cecille Teodoro, who reaffirmed Ascott Makati’s commitment to advocating for Filipino arts and heritage. Guests were among the first to witness the beautiful fusion of Ceramics and Puni, meet the artisans behind the works, and even try their hand at Puni weaving.

 Likha: Ceramics and Puni will be on display until June 29, 2025, at Ascott Makati’s hotel lobby. Select ceramic pieces by Jon and Tessy Pettyjohn, as well as floral bouquets by Punique Handicrafts, will also be available for purchase.

For more information, please call 02 7729 8888 or email frontoffice.am@the-ascott.com.

#AscottMakati #Likha #JonandTessyPettyjohn #rubyspreciousmoments #rubyasoyph

 

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CCP Thirteen Artists Awardee Liv Vinluan wanders through art with a fondness for history

The Cultural Center of the Philippines (CCP) Thirteen Artists Awards (TAA) 2024 recipient, Liv Vinluan, didn’t always see art as a viable career path when growing up. Although art has always been present in her life, she always wondered if she held the same courage as her father, abstractionist Nestor Olarte Vinluan, who received the same honor in 1974. “I saw how difficult it was for him [as a full-time artist and an educator], being a sole breadwinner with three children,” Vinluan shares.

Mounting show after show, Vinluan embraced her fondness for historical narratives. She then fed her fascination through art. Eventually, she realized she might have been onto something all along and heeded the universe’s proverbial call for artmaking. “As a child, I created to pass the time, escape, and conjure other worlds. I just simultaneously feel all these sentiments toward history – bewilderment, shame, and pride,” the 37-year-old artist continues.

Wandering through the path of mixed media techniques, Vinluan found art to be a continuous cycle of discovery. Despite the constant doubts of living a full-time creative life, she refuses to change the trajectory of her career. “Decisiveness is my strongest trait. I try not to entertain regrets,” says Vinluan.

Putting her works out in public remains a tough challenge for Vinluan even after 16 years of practice. Initially, she thought her work could speak for itself as she hid behind anonymity. “Unfortunately, that doesn’t seem to be enough anymore,” she observes as an artist in the digital age.

Vinluan had won numerous local and international awards. She was chosen as the recipient of The Karen H. Montinola Selection grant for Art Fair Philippines 2019. She was also shortlisted for the Ateneo Art Awards – Fernando Zóbel Prize for Visual Art 2016.

Following the announcement of TAA recipients last December, Vinluan noted it as a humbling experience. “It was neither a goal nor a dream. You just work hard and go forward, hoping you will get somewhere,” she comments.

Finding inspiration from local Flora

Contemplating her presentation at the TAA exhibit at the National Museum of the Philippines Fine Arts this October 2025, Vinluan recounted seeing botanist Fr. Manuel Blanco’s Flora de Filipinas at the Lopéz Museum & Library archives in 2016 as part of her preparation. The seminal 19th-century book on Philippine botany has been a landmark, describing over 1,000 Philippine plant species with plates or laminas illustrated by Filipino and Spanish artists.

Upon learning that the exhibit would be inside a historical landmark that witnessed the restoration of the Filipino identity, Vinluan couldn’t contain her excitement. “You don’t get to exhibit at the National Museum everyday. It is a concrete testament to survival and constant change,” she elaborates.

The CCP, through the TAA, honors visual artists under the age of 40 who seek to “restructure, restrengthen, and renew artmaking and art thinking that lend viability to Philippine art.” In its 54th year, Liv Vinluan joins fellow TAA recipients Catalina Africa, Denver Garza, Russ Ligtas, Ella Mendoza, Henrielle Baltazar Pagkaliwangan, Issay Rodriguez, Luis Antonio Santos, Joshua Serafin, Jel Suarez, Tekla Tamoria, Derek Tumala, and Vien Valencia.

The CCP Visual Arts and Museum Division (CCP VAMD) received 82 submissions from art groups, museum and gallery directors and curators, art critics, art educators, and former TAA recipients from all over the country. Through a meticulous deliberation process, the thirteen awardees were selected out of a total of 108 nominations.

For more information about the CCP Thirteen Artists Awards, visit www.thirteenartists.culturalcenter.gov.ph and the CCP official website (www.culturalcenter.gov.ph). You may also follow the official CCP and CCP VAMD social media accounts on Facebook, Instagram, TikTok, and YouTube for updates on future events and public programs.

#CCPThirteenArtistsAward #LivVinluan #rubyspreciousmoments #rubyasoyph

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Cinemalaya calls for entries for its 2026 edition

The Cinemalaya Philippine Independent Film Festival continues to sail as it opens its doors for new entries for the Full-Length Film category of its 2026 edition. The deadline for submissions is on or before 6PM of JUNE 6, 2025 (Friday).

The country’s biggest independent film festival continues its pursuit of innovative and excellent filmmaking as it celebrates 21 years of nurturing independent Filipino filmmakers eager to make their marks in the film industry in 2026.

Those who are interested in submitting their entries may submit it ONLINE through https://forms.gle/XFAaxKrwY34VDLjz8 with the following requirements: the concept paper of the project containing the premise(s) of the film, the genre, the tagline, the key characters, and their descriptions in Filipino or English; a two-page synopsis/storyline of the film project; resume of the proponent/s; two (2) recent photos of proponent/s; and a sample of the work directed by the proponent.

The sheets containing the concept paper must NOT bear the name of the proponent. Full scripts will not be accepted.

Interested participants may submit a maximum of three entries. However, only one entry per proponent may be considered as a finalist. Works already in principal photography or post-production phase before JULY 2025 are disqualified, except for documentaries.

Works that are attached to film and television productions, as well as those of local streaming platforms, are eligible for submission as long as said works are not commissioned projects but originated from the filmmaker as a proponent. Commissioned works from commercial platforms are disqualified for consideration.

By JULY 11, 2025 (Friday), the Cinemalaya Competition Committee shall select 30 promising submissions, whose proponents will be invited to a pitching session on JULY 26, 2025 (Saturday) for their respective projects. The initial selection would be narrowed down to 20 entries, whose proponents who will participate in the Cinemalaya Film Lab, a film laboratory and mentorship program under the Cinemalaya Institute from August to November 2025.

The Cinemalaya Film Lab is a program which brings together resource persons from different aspects of filmmaking, from scriptwriting, directing, cinematography, performance, editing, production design, sound, music, production management, and promotion strategies.

From the film lab and mentorship program of the Cinemalaya Institute, the Competition Committee will choose the 10 finalists for the 2026 Cinemalaya Main Competition.

The ten (10) film finalists will be screened during the festival period on AUGUST 7-16, 2026, at various festival venues.

Since 2005, Cinemalaya has been committed to the development and promotion of Philippine independent film. At its core, it provides an avenue for the production of cinematic works of Filipino independent filmmakers that boldly articulate and freely interpret the Filipino experience with fresh insight and artistic integrity. With its call for submissions for the 2026 full-length film competition, Cinemalaya continues to invigorate the Philippine film industry by developing a new breed of Filipino filmmakers.

For full mechanics, visit the Cinemalaya website (www.cinemalaya.org) and follow the official Cinemalaya social media accounts on Facebook, X, Instagram, and Tiktok.

#cinemalaya #rubyspreciousmoments #rubyasoyph

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Immerse in the Beauty and Depths of the Ocean with the ‘Of Art and Wine’ Series: ‘Bayside’ Exhibit at Conrad Manila

The hotel unveils a new art collection inspired by the vibrant hues of the seas, its dynamic movements, and life under water.

Conrad Manila unveils “Bayside,” the 35th installment of its renowned Of Art and Wine series, showcasing an evocative collection by celebrated artist Lara Latosa, in collaboration with Art Lounge Manila. Inspired by the vibrant hues, rhythmic movements, and diverse marine life, Latosa’s collection offers a heartfelt tribute to the ocean, coinciding with World Ocean Month this June.

“Given Conrad Manila’s iconic location along Manila Bay, it is especially to host “Bayside”,” said Fabio Berto, general manager of Conrad Manila. “This remarkable collection resonates deeply with our guests, mirroring our shared commitment to promote awareness and responsibility for marine ecosystems.”  

A seasoned free diver and environmental advocate, Lara Latosa’s artistic journey has been shaped by her profound connection to the sea. Through fluid strokes, vibrant hues, and dynamic compositions, she conveys the energy of ocean waves, the interplay of light underwater, and the fragile balance of marine life. Her paintings not only portray the dynamic energy of waves and underwater illumination but also explore themes of resilience, mental wellness, and the transient beauty of life.

Lara Latosa and afternoon tea set inspired by her exhibit at Gallery C.

“My art is a love letter to the ocean,” Latosa expressed. “It has been both an escape from life’s struggles and a way to express the deep bond I feel with the sea. The waves symbolize my passion for water, my journey with mental wellness, and my belief in life’s ephemeral beauty.”  

Guests view Lara Latosa’s paintings.

The exhibit officially opened with notable guests, including Cathy Nepomuceno; Vice President of SM Hotels and Conventions Corporation; and the featured artist herself, Lara Latosa. Guests of honor include Susanne Tiausas Managing Director – Art Lounge Manila; Camille Genuino, Board Treasurer – Angat Buhay; and Dr. Deo Florence Onda, Associate Professor & Associate Dean for Research, Innovation, Development and Enterprise, Marine Science Institute University of the Philippines Diliman.

The “Bayside” collection invites visitors to a reflective, multisensory experience from May 13- to July 12, 2025, at Gallery C, located on the 3rd level of Conrad Manila. Latosa’s paintings, crafted in acrylic on canvas and showcasing ocean waves in abstract form, are available for purchase. 

Art & Indulgence: A “Bayside” Inspired Afternoon Tea Experience

Complementing the exhibit, Conrad Manila presents a special “Bayside”-inspired afternoon tea at C Lounge from May 13 to July 12, 2025. Curated by the hotel’s acclaimed chefs, the set for two offers a delightful journey of taste and refinement. Priced at PHP 3,288 ++, the menu features a refined selection of ocean-inspired treats, such as blue lagoon macaron, passion fruit wave tart, coconut panna cotta with mango pearl drops, ocean ripple cheesecake, and sea salt caramel éclair.  Delicate savories include sea breeze cucumber sandwich, crab and avocado brioche, smoked salmon mousse tartlet, shrimp avocado tartine, and nori-wrapped chicken roll.  

This exquisite selection is accompanied by a choice of coffee or a pot of tea, further enhancing the Bayside-inspired experience. The afternoon tea is available daily from 2:00 PM to 6:00 PM. 

For inquiries and more information, guests and art enthusiasts may contact +632 8833 9999 or email Conrad.Manila.info@conradhotels.com.

For reservations and inquiries, contact Conrad Manila at +632 8833 9999 or email MNLMB.FB@ConradHotels.com.

 

Featured photo:

Ribbon cutting ceremony: [L-R] Cathy Nepomuceno (Vice President of SM Hotels and Conventions Corporation); Susanne Tiausas (Managing Director – Art Lounge Manila); Lara Latosa (featured artist); Camille Genuino (Board Treasurer – Angat Buhay); Dr. Deo Florence Onda (Associate Professor & Associate Dean for Research, Innovation, Development and Enterprise, Marine Science Institute University of the Philippines Diliman; Fabio Berto (General Manager – Conrad Manila)

#ConradManila #Bayside #LaraLatosa #rubyspreciousmoments #rubyasoyph

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Commemorating maternal love through paintings as featured on the CCP Encyclopedia of Philippine Art

As the ‘ilaw ng tahanan’, mothers and nurturers are the heart and foundation of Filipino families. Being a mother is all about the deep commitment to nurturing, protecting, and guiding another life.

This Mother’s Day, we celebrate the strength, grace, and quiet resilience of mothers and women through the vibrant world of Philippine visual arts.

From the CCP Encyclopedia of Philippine Arts (CCP EPA), here are some Filipino artworks that immortalized on canvas the importance of women as a mother figure:

CHILDBIRTH

Childbirth by visual artist Romeo Tabuena is an unusual genre of work that captures the folk quality in situation and settings. The painting centers on the mythological being of the underworld, and a woman in the agony of parturition. As the woman felt the tension to release the baby in her womb, her heaving stomach was massaged by a manghihilot (midwife) while surrounded by an aswang (a mythological creature in Philippine folklore) waiting for the newborn baby.

To accentuate the emotional intensity and glimmer movement over the work’s surface, the artist used dramatic lighting. The artwork showcases the artist’s frontal figurative skills.

TATLONG BUDDHANG INA

Agnes Arellano’s Tatlong Buddhang Ina of Agnes Arellano portrays a deity of roads from Yoruba religion.

Exhibited at the 6th Havana Biennale in 1997, accompanied by her work Eshu, the painting features deities Dea, Vesta, and Lola; each representing stages of motherhood.

Dea reflects Arellano’s struggles in giving birth through caesarean, her transition into motherhood, and as a stepmother. She comes to be molting an old version of herself, equipped with wings and four pairs of breasts.

Carrying a large lizard as an emblem of fertility, Vesta provides milk and honey as nourishment, symbolizing breastfeeding. Freed from reproductive and sexual responsibilities through aging, Lola gains a love lost through intellectual fulfillment by turning inward.

BROWN MADONNA

Galo Ocampo’s Brown Madonna is a pre-war modernist work departing from a traditional colonial iconography and giving a Caucasian cast to the figures.

Brown Madonna

Set in a background of rural scene with thatched hut, tropical bamboo, and evocative mountains of rice terraces, the painting represents rural Filipino through the baro’t saya and tapis of Mary, along with brown complexion and features.

Ocampo’s modernist style is shown by his use of bright colors, flat decorative effects, spatial recession as depth, and the absence of linear perspective.

Ocampo’s work came from the idea of Paul Gauguin’s 1891 Tahitian work La Orana Maria, which had themes of nationalism and indigenization.

CHICKENS

Modernist pioneer Anita Magsaysay-Ho’s Chickens is part of a series depicting women harvesting fruits and grains, and vending fish in the market. Created in the late 1960s, it emphasized movement and busy interactions by using bold and dynamic brushstrokes, strong contrast of shadows, and lights. Magsaysay-Ho’s style presents the simplification of forms into basic geometric shapes, like bandanas as triangles and rectangles for skirts.

Though her composition is closed and spherical, there is a function among the figures with chickens waving, flying, cackling, and rustling feathers caused by the women chasing them. Their bodies twist and turn in contrast. For the painting’s vibrancy, the textured surface treatment was achieved by sharp hatching and cross-hatching brushes on the hardboard.

THE QUIASON FAMILY 1880

In this group portrait of an ilustrado in the 19th century, artist Simon Flores depicted a family that consists of two children, a father with  dark-toned trousers and a mother wearing a dark skirt, which contradict their light colored upper clothing. The mother and her children have formal, unsmiling expressions that convey a high moral tone as models to be emulated.

Painted in full figure, the artist meticulously catches all details of embroidery, textures of their outfits, and their accessories in a miniaturist way. Also present in the portrait is a vase of flowers that symbolize beauty and abundance. The round chandeliers and open doors give an impression of a stylish interior, and the curtains on the left side and an elegant column at the right well match the composition.

CCP EPA: A precious cultural legacy

The CCP EPA is the most comprehensive resource on anything and everything artistic and cultural. With its latest edition, the CCP EPA has over 5,000 articles in its 12 volumes. Meanwhile, its digital edition (CCP EPAD) holds over 5,000 articles and hundreds of video excerpts from dances and musical performances from the CCP archives.

For more information on CCP EPAD, visit  epa.culturalcenter.gov.ph/encylopedia. Subscriptions are priced at Php75 per month, or Php675 per year. Email epa@culturalcenter.gov.ph to purchase a copy of the CCP EPA print edition and/or USB digital edition.

#CCPEPA #CCP #rubyspreciousmoments #rubyasoyph

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Art Couture: Lamina 2025 Bridges Fashion, Heritage and Sustainability

This May, the Grand Ballroom of City of Dreams Manila will be transformed into a living gallery—where textile meets technique, sculpture walks the runway, and Filipino creativity takes center stage. Lamina 2025 is an immersive cultural experience. In a three-day celebration of artistry, innovation and collaboration, Lamina brings together over 30 of the country’s top visual artists and designers in a groundbreaking lifestyle and advocacy fair designed for the conscious generation.

A New Vision of Luxury

At its core, Lamina 2025 is a circular economy showcase—redefining luxury through collaboration, sustainability, and meaning. It’s where community-based production meets couture, and where fine art translates into functional, wearable, and immersive design. From gallery walls to catwalks, the event weaves together purpose and process into something entirely new.

 

From Glass to Garment: Heritage Design and Contemporary Vision Take the Runway at the Invitational Gala

A highlight of Lamina 2025, Luminous Threads, touted as an art couture show, will present new collections where traditional techniques meet futuristic vision in a celebration of co-creation and circular design.

Headlining the show is Patis Tesoro, the grand dame of Filipiniana fashion, whose collaboration with French textile artist Francis Dravigny reimagines heritage fabrics into striking contemporary couture. Their work—crafted with Philippine fibers and interpreted by Bayo Atelier—elegantly redefines the line between cultural preservation and modern luxury.

Another highly-anticipated collaboration with Bayo Atelier is the interpretation of artist Anna Orlina’s sculptures, where her glass art serves as the blueprint for sculptural fashion pieces.

Featured Artist Anna Orlina.

Think gradient silhouettes, luminous forms, and runway looks that capture the interplay of transparency, light, and structure. It’s a fusion of disciplines that embodies Lamina’s spirit: art that’s wearable, and fashion that speaks.

The runway also makes space for inclusive expression through a collaboration between contemporary visual artist Bea Policarpio and Best Buddies Philippines, a nonprofit supporting creatives with developmental disabilities. Guided by Bea’s mentorship, these emerging artists co-create vibrant wearable art pieces—each one telling a story of individuality, artistry, and belonging.

Together, these collaborations form the heart of Luminous Threads—a fashion show that doesn’t just spotlight beauty, but purpose, inclusivity, and the possibilities born from creative synergy.

Beyond the Runway: A World of Creative Crossovers

Throughout the weekend, Lamina’s pavilions come alive with immersive art and design co-presented with ManilART, the National Art Fair.

The Orlina Art Car Pavilion, in partnership with Museo Orlina, debuts a new glass-and-paint collaboration between Ramon Orlina and Dominic Rubio—including a one-of-a-kind art car and hand-painted Vespas.

The Sculpture & Functional Art Pavilion features standout works from Jik Villanueva, Richard Buxani, Jinggoy Salcedo, Agi Pagkatipunan and others, showcasing the intersection of design, utility, and storytelling.

The Wearable Art Jewelry Collection shines with handcrafted pieces by Ramon Orlina, Helena Alegre, Maria Magdamit, Marge Organo, Arnel Papa, and Hoseki Manila featuring the designs of Knoi Esmane and Faico.

The synergy continues in the Paintings Pavilion, where artists including Nikulas Lebajo, Bullet Dematera and Kara Pangilinan interpret the visual language of Patis Tesoro through original works—extending the feedback loop of creativity that defines Lamina’s ethos.

Patis Tesoro fabrics interpreted by Nikulas Lebajo.

Conversations, Causes & Community

Day 2, Art in Conversation, opens the floor to a broader public. In partnership with the European Chamber of Commerce and the United Nations-supported Race to Zero campaign, panels and talks will explore circular practices in art and fashion. A benefit auction will support Mangrove Restoration via UP Marine Sciences and the Weave for Peace initiative by HARVEST Creative Hubs.

Day 3, The Final Experience, brings the creative community together with live sketching and painting by master artists and Best Buddies participants. 100% of auction proceeds on this final day go toward supporting inclusivity programs by Best Buddies Philippines.

A Vision with Impact

More than just a showcase, Lamina 2025 positions the Philippines as a future-forward leader in sustainable luxury. It’s a declaration that art, fashion, and community can—and should—coexist meaningfully. With its fusion of culture, innovation, and purpose, Lamina invites us all to reconsider how we create, what we value, and how we celebrate.

  • Lamina 2025
  • May 2–4, 2025
  • City of Dreams Grand Ballroom, Manila
  • Pre-registration and ticket details available via official channels.

#Lamina2025 #ManilART #Patis Tesoro #AnnaOrlina #NikulasLebajo #rubyspreciousmoments #rubyasoyph

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Honoring the life and legacy of National Artist for Film and Broadcast Arts Nora Aunor with a necrological service

The National Commission for Culture and the Arts (NCCA) and the Cultural Center of the Philippines (CCP) join the nation in commemorating the life and remarkable contributions of National Artist for Film and Broadcast Arts Nora Cabaltera Villamayor, belovedly known as Nora Aunor, in a necrological service on Tuesday, April 22, 2025, at the Metropolitan Theater in Manila.

Arrival honors will begin at 8:30 AM, followed by a tribute program at 9:00 AM. The state funeral rites will continue at the Libingan ng mga Bayani in Taguig City.

The National Artist, who passed away on April 16, 2025 at 71, was a distinguished film, television, and theater actor, a renowned singer, and a film producer. Her career began in amateur singing competitions, eventually gaining attention when she won the television talent show Tawag ng Tanghalan in 1967. Her successful stint in the popular television show along with her appearance in Darigold Jamboree, led to her phenomenal rise earning the iconic title of the Philippine film industry’s “Superstar.”

Among her acclaimed films are Bona (1980), which was the closing film of Cinemalaya 2024, as well as Himala (1982), Bulaklak sa City Jail (1984), and The Flor Contemplacion Story (1995) – all were featured at the CCP Cine Icons program.

She was conferred the Order of National Artist (Orden ng Pambansang Alagad ng Sining) by the Office of the President in 2022. The Order of National Artist is the highest national recognition given to Filipino individuals who have made significant contributions to the development of Philippine arts.

The public is invited to attend the necrological service. Limited seats are available. The registration link will be released on Monday through the official social media pages of the CCP and NCCA.

For those unable to attend in person but who wish to pay their respects, the necrological service will be livestreamed on both the CCP and NCCA Facebook pages.

For inquiries, please call NCCA at 09209480385 or CCP at 09617466602.

#NoraAunor #necrologicalservice #rubyspreciousmoments #rubyasoyph

 

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Papet Pasyon 2025 comes home to CCP

The Cultural Center of the Philippines and Teatrong Mulat ng Pilipinas present PAPET PASYON 2025, at the Tanghalang Ignacio Gimenez on April 6, 2025, for two performances at 2:30pm and 6pm.

Written by National Artist for Theater Amelia Lapeña-Bonifacio, Papet Pasyon 2025 features and explores in its storytelling, the important moments during the Holy Week. It begins with Jesus’ entry to Jerusalem on Palm Sunday, His outburst at the Temple, His miracles, His agony in the garden at Gethsemane, His final supper with His twelve disciples, Judas’ betrayal, Jesus’ passion, death, and resurrection on Easter Sunday. A young boy who received a miracle from Jesus acts as a central storyteller in this play based on Biblical passages and Filipino tradition during Holy Week.

This puppet play is a celebration, a feast of traditions and heritage of the Filipino people. Papet Pasyon 2025 is a senakulo, a folk-religious and theatrical retelling of the passion, death, and resurrection of Jesus Christ.  It features wooden puppets, smithed by master woodcarvers of the woodcarving town of Paete in Laguna.

Teatrong Mulat continues the panata initiated by Lapeña-Bonifacio in 1985. First staged at the CCP, Papet Pasyon has been performed annually in various venues such as churches, schools, and other performing spaces in Metro Manila and Bulacan until it found its permanent home at the Amelia Lapeña-Bonifacio Teatro Papet Museo in Teacher’s Village, Quezon City, in 2006.

At the height of the pandemic in 2021 and 2022, Teatrong Mulat produced two stage-to-film versions, which were live-streamed on the official Facebook page of Teatrong Mulat. In 2023, Papet Pasyon was staged at the recently renovated Metropolitan Theater of Manila.

Marking its 40th anniversary, Papet Pasyon 2025 returns to where it all began – at the CCP –  welcoming both seasoned and new generations of Mulateers (as the Mulat Theater puppeteers are fondly called) to continue their decades-long panata each Lenten season.

Directed by Teatrong Mulat artistic director, Amihan Bonifacio-Ramolete, Papet Pasyon 2025 has undergone numerous updates over the years from the length of the texts and the wooden rod puppets to the incorporation of shadow play elements and voice-over recordings; each innovation has helped the play stand the test of time.

Amid its constant evolution, Papet Pasyon 2025 has remained steadfast in its original vision since its debut 40 years ago: to present the senakulo through the art of puppetry, bringing the passion of Jesus Christ closer to new and younger generations of audiences.

The puppet play features an ensemble of puppeteers, comprised of Bonifacio-Ramolete, Raymund Ramolete, Roel Ramolete, siglo, Arvy Dimaculangan, Shenn Apilado, Khen Del Prado, Nour Hooshmand, Mina Camacho, Janno Castillo, Hazelle Catena, Ayeesha Cuerpo, Anna Dalet, Ravelyn Dar Juan, Vinzar Rubi, Harvey Sallador, and V Soriano.

Sharing their vocal talents to bring to life the different biblical characters are Esteban Mara Fulay, Jr., Greg de Leon, Jessamae Gabon, Carlito Camahalan Amalla, Pau Benitez, Fitz Edward Torres Bitana, Darwin Desoacido, Kenneth del Prado, Jules dela Paz, Arvy Flores Dimaculangan, Rej Duka, Marynor Madamesila, Christelle Manuel, Jessette Gonzales Namin, Marvin Olaes, Vincent Kevin Pajara, Aina Ramolete, Katte Sabate, Gabo Tolentino, and Jamee Stevana Vega.

The artistic and production team of Papet Pasyon 2025 include: playwright and puppet designer NA Amelia Lapeña-Bonifacio, director Amihan Bonifacio-Ramolete, music director Rodolfo de Leon, puppet designers Bernadette Solina-Wolf, Maurice Carvajal, Joji Pamintuan, Carol Castro, Romerico Romero, and Carlito Amalla, puppet sculptors Paloy Cagayat and Jeriel Madrigal, set designer Ohm David, costume designer Darwin Desoacido, shadow play designer siglo, sound designer and editor Arvy Dimaculangan, audio engineer Jessamae Gabon, light designer and technical director Satya Edilo, video designer/editor Steven Tansiongco, poster designer and assistant stage manager V Soriano, stage manager Shania Lee Cuerpo, production manager Janno Castillo, and production assistant Malvin Abadinas.

Papet Pasyon 2025 is free to the public.

For more updates on Papet Pasyon 2025, follow the official CCP and Teatrong Mulat ng Pilipinas social media accounts on Facebook, X, Instagram, TikTok, and YouTube. Visit the CCP website for more news on CCP and its programs.

#PapetPasyon2025 #CCP #rubyspreciousmoments #rubyasoyph