Archives: Artists

Karen May Castrillo-Villaseñor, born in 1987, is the eldest child of Remedios Castrillo and artist Ronald Castrillo.

Born out of a family of artists, the Castrillo’s being arguably the pioneer of Brass Sculpture in the Philippines, Karen May Castrillo-Villaseñor seeks to live up to the family name and make them proud. The first of the third generation of Castrillo artists, she is best known for innovating her father’s works by blending in femininity and vulnerability in every piece, working mostly with materials like Brass, Copper & Stainless. She believes in the visual language of art through multi-dimensional experience; the dialogue between strength and flexibility and that one must embrace both to become whole. She does not believe in the pretext of opposites, that choosing one rejects the other, but instead challenges the viewer in active participation to accept both.

A firm believer of crystal therapy and its ability to realign energy flow within the human body, she also incorporates gemstones and crystals to her work to adapt its innate healing properties. As a result, it provides her viewers with a unique form of metaphysical perspective.

Karen May Castrillo-Villaseñor’s career in sculpture began at a very young age, with her childhood consisting mostly of deafening sounds of tools hitting the surface of metal, a vivid memory that remained integral to her story today. Although given the chance to pursue a conventional path to success by attaining a traditional bachelor’s degree, Karen
CV moved to build her own path instead. Driven by her natural curiosity of art, she began as an apprentice to her Father and eventually became his artist manager and co-artist. In March 1, 2021, Karen CV joined her Father on their first collaborative exhibit at Newport Mall, Resorts World Manila with the show entitled “Shaping Wonders & Dreams”. Since then she had made it her life’s mission to create a name for herself, by borrowing the name “Castrillo” that has become distinct in the Philippine art industry, and giving it a tweak of her own creation. She honed a mindset that seeks to improve, innovate, and create.

Now married, her husband remains one of her biggest inspirations, as his input, support, and artistic observations have helped materialize her vision. He is both her best spectator and a sparring partner, sharing a keen eye for art and
understanding of its abstract value. A trait of great rarity these days.

Ronald Castrillo, an immensely talented sculptor, possesses a remarkable ability to transform his imagination into tangible three-dimensional forms. He has earned a prestigious reputation for his exceptional craftsmanship, utilizing a variety of metals such as brass, bronze, steel, and iron. Through his remarkable works, Ronald has elevated the realm of Filipino sculpture to unprecedented heights. His artistic prowess and technical expertise enable him to create awe-inspiring monuments, captivating centerpieces, and distinctive sculptures that serve as testaments to his incredible skill.
From a young age, Ronald’s passion for art was ignited by his father, Amado Castrillo, a writer, illustrator, and sculptor. Starting at the age of ten, Ronald began his training and skill development in his family workshop located in Makati. Guided by his father’s expertise, Ronald honed his abilities, progressing from simple drawings and sketches to the refined art of sculpting. Drawing inspiration from his surroundings, he meticulously plans his creative process, methodically bringing his ideas to life by shaping metal into beautiful lines and curves that can be both touched and admired.Ronald’s proficiency in technical knowledge and artistic expression is a result of his educational background. He holds a Bachelor of Science degree in Aeronautical Engineering, with a major in Aircraft Design, from PATTS School of Aeronautics. His contemporary sculptures have been prominently featured in various locations, including EDSA and numerous city centers. Ronald firmly believes that extraordinary sculptures are conceived through exceptional ideas and meticulously executed to perfection, guided by careful planning and informed by technical expertise. As a pioneering figure in Filipino sculpting, Ronald remains dedicated to ensuring the future prosperity of this artistic discipline.

Manny Cabrera,  a distinguished artist hailing from the vibrant province of Pampanga, has etched his name in the annals of contemporary art with his distinctive style and imaginative flair. Having honed his craft at the prestigious University of the East, Cabrera’s journey into the realm of artistic expression was further enriched by his familial ties to the renowned Benedicto “BenCab” Cabrera, a luminary in the realm of visual arts and a National Artist. 
At the intersection of animation, surrealism, and fantasy, Manny’s painting was inspired from the enchanting realm of animation, His art imbues creating with a dynamic energy, breathing life into his characters with every stroke of the brush. Even in the absence of dialogue, his creations speak volumes, each gesture and expression serving as a window into the complex inner worlds of his subjects. 

Through his art, Manny Cabrera invites viewers to engage in a dialogue with the surreal and the fantastical, encouraging them to explore the depths of their own imagination and embrace the inherent magic of the world around them. 

Othoniel “Otto” Neri visual artist & sculptor. Otto Neri was born in 1985 in Quezon City,Philippines, a self-taught artists began drawing at very young age. He blends social realism with elements of iconography and humor, while also incorporating strong contrasts between Filipino culture and Western influences. His work likely offers insightful social commentary. Additionally, their involvement in various artistic disciplines, such as painting, music, sculpture, and mosaic art, showcases a broad creative spectrum. Otto paints with a very sharp eye and a flair for detail, employing a palette of explosive colors and textures . Technically, he has complete control of his materials that he can command them to perform as he wishes. It’s intriguing that he is also an animal keeper-especially horses, which could possibly inspire or influence his art in unique ways. His exploration of human figures with anthropomorphic images and visual methaphors, particularly using kings and queens with chess piece heads to symbolize geopolitical power and governance, offers a compelling avenue for social commentary. By blending historical symbolism with contemporary themes, you’re highlighting the enduring relevance of power dynamics in society. This approach not only reflects on the past and present but also prompts viewers to contemplate the nature of leadership and self-governance He is currently based in Alitaptap Artists Community in Amadeo, Cavite

Since childhood, Bullet has been immersing himself in art through sketching and drawing. His talent in visual arts was already noticed by people around him since his younger days. Aware of this gift, Bullet natured it with constant practice, hard work and determination. Though he showed promise at a young age, financial setbacks forced him to stop school and work to help provide for his family. He could not take up formal art education and nearly abandoned his dream of pursuing a career in the arts. However, the desire flickered like an ember against the harsh winds. Meeting with distinguished realist painters reignited this passion and nourished it into a flame. At the age of 20, Bullet got the opportunity to work as a studio assistant. It was a pivotal moment for him who, without knowing it, had embarked on a painting apprenticeship. The opportunity to work in a conducive environment surrounded by art inspired Bullet hone his artistic skills and learn through observation. The training allowed the artist to enhance his drafting skills and learned the fundamentals, such as shading, combining color, and using graphite’s, oil and acrylic. Bullet’s artworks are often described as hyper-realistic because of its photographic quality. These elements are consistent in his art concepts: nature, florals, human, and especially animals. Dematera’s earnest love for nature is not only borne from his deep appreciation for God’s creations. It is also a never-ending source of inspiration for the painter. Indeed, Dematera’s spirit, imagination and unparalleled work ethic create an inspiring formula that drives him to overcome personal, professional, and artistic hurdles.

He has held multiple solo and group exhibitions from 2005 to 2024. From 2005 to 2015, he apprenticed under Ronald Ventura. This year, he also participated in the group show ‘Newnoise’ at Meatspace, Taipei, Taiwan.

Dante Enage is a mixed-media, visual artist hailing from Tacloban City, Leyte. His works carry motifs and patterns symbolizing cultural diversity, such as the Pintados tattoo patterns, heavily inspired by his hometown, and the Baybayin accents, the traditional script used by the Pre-colonialized Filipinos. He also expresses his environmental advocacy through geometric and organic shapes, found frequently in his artworks. Throughout his career, he has had numerous exhibits, thirteen of which are solo shows, both in the local and the international scene.

Dante first gained artistic recognition ten years ago, when his work, “Paint Not Bomb”, won 1st Place in the 2013 Philippine Visual Arts Festival (PVAF) of the National Commission for Culture and the Arts (NCAA) in Pagadian City.

Later that year, his works were exhibited at the Philippine Embassy and the Art Expo in Malaysia. Two years later, he was part of the group of exhibiting artists for the 4th International Group Exhibit of Malalayang Alagad ng Sining at Adhikain (MASA), entitled #Artimismo, at the One World Institute in Bitonto, Italy. Later, his exhibited pieces were included in the Art & Collectible Auctions held in Kuala Lumpur, Malaysia. In 2017, his hometown, the City Government of Tacloban, and the Sangyaw Foundation Inc., jointly declared him the “Sangyaw Awardee” for Visual Art. In the same year, Greenpeace East Asia lauded him as a climate change “art-ivist” in one of their articles, for his art installation supporting Greenpeace’s “Break Free” Movement.

He is also an avid participant in art competitions. During the 2022 GSIS National Painting Competition, he won an honorable mention in the non-representational category. The following year in the same competition, he placed as a finalist, this time in the representational category. Nowadays, Dante’s works can be found in various acclaimed galleries across the country. He also serves as the founder of Kolor han Biswal Arte Nga WAraynon – Kolor Banwa (launched in 2005), an art group based in Tacloban City, Leyte,

The COVID-19 pandemic has made most of us look inward for meaning. It made a lot of us reconnect with what is essential, and make sense of the world we are in, and what we have contributed which made it how it is now: a world at a juncture between better or irreversibly worse. It has also forced visual artist Kenneth John Montegrande to dig deep, when he nearly died of the illness last year, and survived it only with full-on, non-stop medical attention at the Intensive Care Unit of a hospital; and surrendering wholeheartedly his fate to the will of the Creator. Undergoing such an intense experience gave Montegrande a renewed zest and appreciation for life, and a greater passion to pursue his purpose: to paint and to share his rich inner world to others. Celebrating his first decade as a painter, Montegrande embarked on a year-long series of solo exhibitions at various galleries to explore the foundations of his artmaking, namely, his spirituality (A Decade of Montegrande), his quest for the sublime (Symphonies of Seas and Skies), his personal recognition of the positive influences of sincere friendships forged through art (Magical Harmony), his unfathomable gratitude for being alive (Great Expectations) and now, his constant need for growth through Expanding Horizons. By returning to his second home, the United States of America, this solo exhibition at the Philippine Center, is his first international solo exhibition and a poetic way to mark his debut to the world stage. Expanding Horizons, his 15th solo exhibition to date, is an apt addition to the series of solo exhibitions which caps his first decade as a painter, after shifting from his previous career as a media strategist; continuing his retrospection on what has propelled him forward, and achieving the various milestones in his artistic career, such as the recognition for being the first Southeast Asian artist whose works are housed in the prestigious collection of Yusaku Maezawa, a Japanese tycoon and mega art collector who founded and currently directs the Contemporary Arts Foundation. Being the youngest artist to exhibit at the Malacanan Palace Museum and be included in its prestigious collection. And being featured guest artist in museums like Fundacion Sanso, where he has had the honor of exhibiting with Presidential Medal of Merit Juvenal Sanso, within his first decade. Having recently been given another chance at life, and in gratitude for the myriad blessings he has received over the past decade, Montegrande expresses his hopes for a better future for himself, and for humanity as a collective at this juncture in our history. These skyscapes, which are made impactful through proficient composition and chiaroscuro, effectively set the ethereal clouds as the stage for the drama played by the long spectrum of light, as when the sun is low on the horizon, such as when it is setting, or dawning. Through them, Montegrande creates a metaphor for the world we are in now: wrapped in the darkness of human conflict and environmental disaster, yet instilled with the light of human reason, and hope. It is a world that is ambiguous: we are not sure yet if it is ending, or being reborn. With these cloudscapes, Montegrande successfully encapsulates the human condition and propels the tradition of landscape painting into the realm of affect, which in turn, hopefully inspires us to positive action. It is landscape that plays off the reflection of light against the clouds, to encourages us into our own personal, inward reflection. This introspection, with luck, makes us realize that we are also reflections of the divine. Through these cloudscapes, Montegrande seems to assure us that the key to the collective future lies in each of us. And for him, the present is an expanding horizon of hope.

Melchor Tagana (b. 1982) is a self-taught contemporary artist with a degree in interior design. His work is tactile, influenced by fluidity and texture. Melchor describes his paintings as “internal landscapes,” aiming to give tangible form to a range of human emotions including unbridled joy, grief, and love, adding emotional depth to his pieces. With an ethereal perspective, Melchor blends earth tones with swatches of clouds to create dreamlike scenes that evoke a sense of wonder and tranquility seen from above. His creative process is meditative, characterized by vibrant colors, thoughtful composition, and captivating abstraction techniques. In addition to his artistic pursuits, Melchor holds the position of President at Kolor han Biswal Arte nga Waraynon (KolorBanwa).

In Steel on Stills, Arnel Borja showcases recent works featuring steel sculptures that transcend their hardy and rigid nature to become vibrant works of art. Coated in bright oranges, purples, blues, and yellows, they take center stage as the artist shapes them into musicians playing in a bright and lively orchestra of cleverly assembled pieces. A renowned kinetic sculpture artist, Borja comes from a lineage that descends from a trusted anluwagi who was considered a highly skilled craftsman, carpenter, blacksmith, mason, and stone carver in Negros in the 1940s. He began his art career as a realist painter and later became a sculptor known for balancing freestanding, mobile-like modern shapes on fulcrums. He previously taught advanced drawing at the Philippine School of Interior Design (PSID) and holds an Aeronautical Engineering degree, which explains his passion for well-planned and sensibly crafted pieces. At 38 years old, he held his first one-man sculpture exhibition, and still continuously pursues this practice full-time. Each sculpture in the exhibition is a testament to Borja’s mastery, showcasing not just the physical form of musicians and instruments but also the essence of music itself. Some pieces even feature facial features assembled from other shaped steel components, with expressive eyebrows and pursed lips poised above flutes and clarinets, adding a touch of whimsy and personality to the ensemble. Through these sculptures, Borja invites us to experience music in a visual form, capturing the essence of musicality on still steel. The playful and lighthearted look of these artworks crosses borders, offering a unique visual rhythm that resonates with art enthusiasts and music lovers alike. Borja finds inspiration for his recent pieces in their remarkable similarity to cacti in the desert, echoing these plants in their form, design, and resilience. After all, cacti have evolved to survive in harsh environments by storing water, minimizing water loss through evaporation. A deeper connection between the cacti’s role in the desert ecosystem and his own creative process also emerges: just as cacti provide shelter, water, and stability to the desert environment, the artist gathers divine inspiration from his surroundings and experiences, absorbing stimuli to craft meaningful and innovative artworks. As music and art are balms to the soul, cacti serve as a means of survival in the desert, truly appreciated in these trying times. In Steel on Stills, Borja’s sculptures reflect not just the physical resemblance to cacti but also the undeniable link between nature’s ingenuity and the artist’s creative journey, governed by inspiration and soothed by music, with art emerging from the absorption and transformation of external influences into unique and dynamic forms. The exhibition may be considered a celebration of art’s ability to transform hardy materials into expressions of joy. Just as we enjoy jazz or spontaneous melodies, the artist’s sculptures invite us to immerse ourselves in the harmonious blend of color, form, and music captured within each piece.

“Art is synonymous with breath of life; it is a fundamental act that permeates the core of human existence.” – H. Pineda

Herminigildo “Hermie” Pineda believes in the transcendentality of artmaking. For him, this creative act is immersed in the philosophy of the cyclic phenomenon governing nature and the universe. Human beings are given the power to forge their destiny through sheer force of intellect and willpower. They are capable of shaping their physical, social, and political world. But these occurrences transpire under the universal law of causality and the axiom of nature. Any deviation has corresponding and incremental repercussions.

Pineda’s oeuvre addresses these thematic concepts in several ways: as iconographic depictions symbolizing human ideals, or as mythical allusions purporting the canon of natural environment. Possessing the mastery and technical capability of depicting figuration either realistically or through abstraction as painting, mixed media art, or sculpture, he tackles various aspects of a given theme diversely.

The dual narrative of ‘mother’ as creator and ‘mother’ as nurturer is explored in the low-relief sand and paint pigment mixed media art “ Indung Ibatan ” (2012). Pineda situated five human forms enclosed within the perimeter of circular framework. Two facial features representing a tranquil Mother Nature in repose are seen extruding from the picture plane. Immediately below are renditions of two bare-torsoed male figures paying homage to the giver of life. The hands reaching out to each other signify the male-female bond that created the slumbering child. And at the centre of the forms are two fused triangles emblematic of the merging into one of man and woman’s souls.

In his G.S.I.S. National Art Competition non-representational winning piece “Magkikita Tayo Muli” (2016), he utilized horizontal bisection of space using linear elements to project horizons. The multi-layered landscape with predominant blue, green, and yellow hues highlighted by crimson streaks and hints of vertical linear elements at the edges evoke the desolateness of spirit intimated by separation. Yet, there is some semblance of hope when paths intersect again as an omen of renewal and transformation.

Pineda’s current work “Interface” (2020) explores the realm of digital-referenced art arena. His pixelated format amidst black background presupposes cosmic architecture exhibiting binary configuration of white rectangles and yellow lines. Inter-dimensionality is suggested as overlapping spatial surfaces are perceived by the viewer. There are also noticeable areas of convergence as the elemental forms intersect each other.

Herminigildo Pineda is a two-time recipient of the Government Service Insurance System (G.S.I.S.) National Art Competition Award bagging 3rd place in 2016. He is a four-time finalist at the Philippine Art Award (P.A.A.) National Art Competition, an awardee at the Metrobank Art and Design Excellence (M.A.D.E.) National Art Competition, and a finalist at the Shell National Student Art Competition. He is also the first place winner at the National Commission for Culture and the Arts (N.C.C.A.) Diwa ng Sining National Art Competition, and 2nd place winner at the Department of Environment and Natural Resources (D.E.N.R.) Art Competition. He is the Philippine representative at the 7th Osaka Triennial International Art Competition in Japan, and the recipient of the Most Outstanding Kapampangan Award (M.O.K.A.) for Arts and Culture (Painting).

He graduated in A.B. Industrial Psychology at the Holy Angel University in Pampanga and was a faculty member of the Social Science Department teaching Humanities, Art Appreciation, History, and Life of Rizal courses for 12 years. He took up MA Art Studies majoring in Art History at the University of the Philippines in Diliman, Quezon City. He also did Cultural Lab Studies on Good Governance at Ateneo De Manila University in Katipunan, Quezon City. – V. Tan Gana