Ambie Abaño — "...in the constant rain..."

AMBIE ABAÑO JUL.13 — AUG.31.2019

AMBIE ABAÑO JUL.13 ― AUG.31.2019 ART DIRECTOR

Silvana Ancellotti-Diaz

EXHIBITION TEAM

Johanna Labitoria Vicente Amancio, Jr. Jose Joeffrey Baba Gabriel Abalos

Thess Ponce Bing Francisco Roy Abrenica Edgar Bautista

CATALOGUE DESIGN

Marikit Lagunzad

EXHIBITION NOTES

Dr. Tony Donaldson

ACKNOWLEDGMENTS

Psalm Astejada Pandy Aviado Sarah Conanan Danna Espinosa Cesar Puno Johnny Soriano Eliana San Valentin

Christian Atilano Al-Niño Caldona Ohm David Babylyn Fajilagutan Jone Sibugan Jonas Timbreza Jun Jun Sta. Ana

the Mother and family of the artist Copyright © 2019 Ambie Abaño and Galleria Duemila, Inc. All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system transmitted in any form or by any abovementioned copyright holders, with the exception of reasonably brief excerpts and quotations used in articles, critical essays or research.

AMBIE ABAÑO JUL.13 — AUG.31.2019

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‘Self’ is a constant. ‘Self’ transcends time.

–Ambie Abaño

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Conversations in the rain Dr. Tony Donaldson

There are three portraits of a female at different stages of life – a child, a woman, and a mature-aged woman. The child has an innocence and purity about her but is also curious about the universe and her future. The woman looks to her future too, but her eyes look back to the child as if she is unable to let go of the past. The mature-aged woman gazes back to both with a feeling of contentment and serenity in living a beautiful life.

There are six clocks – five are made from narra wood (pterocarpus indicus) recycled from the staircase of a demolished house.

One clock has its numbers upside down, while others have only the seconds hand – all with engraved images that stir curiosity.

Ambie Abaño’s new show consists of five elements – portraits, clocks, rain, a swing, and butterflies, one engraved on wood.

Each compels us to figure out where the elements intersect and to decipher the relationships between them. The constancy of rain, for instance, in relation to deconstructed time suggested by the meaningless clocks can make us curious about whether we are defined by time.

Viewers are also free to roam through the exhibition to experience the beauty of nature and being human, which is particularly relevant today as materialism,

greed and corruption are leading to the loss of humanity’s capacity to value beauty, wonder and our intimacy with our universe.

Ambie’s output spans three decades moving from her first oil paintings in 1986 to printmaking in the late 1990s, to mainly woodcuts since 2000. Her art is autobiographical and is influenced by her experience of the environment and the human conditions around her. She doesn’t limit herself to conventional notions of printmaking but is extending the boundaries and vocabulary to transform it into a new experience of the world. She avoids the labels and categories found in art discourses, preferring to free herself from these because it can inhibit and supress the possibilities for discovery and innovation. Her bold, inventive and original voice combined with a single-minded dedication to her craft and a consistent sense of creative purpose has informed the whole of her life and enabled her to achieve her artistic goals without the ruthlessness which too often accompanies ambition.

Her innovations in printmaking were first recognised when she was awarded Grand Prize Winner of the prestigious Philippine Art Awards in 2006 with a stunning print called Reverberating Murmurs of the Gaze. The work used two traditional printmaking techniques–rubbercut and photographic silkscreen– but it also benefited from her exploratory printmaking on spandex, a stretchable fabric, which allowed her to manipulate the print after it was printed to create different facial expressions by stretching, crumpling, cutting, sewing, compressing or stuffing the material. By winning the award, she proved printmaking could rank with the best of any art medium. Her inventiveness in printmaking however has sometimes been misunderstood by the art intelligentsia who – seemingly unable to understand or recognize innovation – make the mistake of seeing printmaking as static and unchanging as if it were tied to concepts belonging to the 1920s. For a practising artist working in a living printmaking tradition today, innovation is a natural process and necessary if the practice is to survive and thrive. Since winning the Philippine Art Awards, Ambie’s explorations into printmaking have evolved in giant leaps

as the noted printmaker Pandy Aviado observed after attending the exhibitions Beyond My Body (2016) and Moments Musicaux (2017), Her work suddenly exploded into a celestial or galactic [realm]. It was like she discovered the cosmos or the universe. I see her going into a trance and being possessed by an energy that is totally out of this world.

Her art is not only about emotions but is a total experience in which the medium goes beyond the message.1 Born in 1967, Ambie studied architecture in the 1980s at the University of Santo Tomas. After working in the industry for a few years, she abandoned the profession to become an artist. She studied oil painting with Ibarra Dela Rosa (1986-87) and later came under the influence of Pandy Aviado. She was the 1987 Grand Prize winner in the painting category of the Art Association of the Philippines (AAP) competition with an oil on canvas still life titled Brassica oleracea et Lactuca sativa. Today, she is actively involved in international art residencies. She was the first recipient of the Alliance Française de Manille Philippine Artist Residency Program (AFM-PARP) which led her to complete a three-month residency at the Cité International des Art in Paris in 2011.2 She received an Asian Cultural Council (ACC) grant in 2012 to undertake a studio residency at the International Studio and Curatorial Program (ISCP) in Brooklyn and to attend lithograph workshops at Robert Blackburn Printmaking Workshop (RBPMW) under Devraj Dakoji, within a period of six months. In 2015, she was selected as Philippine representative for the Barehands Artist Residency Project and joined residencies in Indonesia, Malaysia and Japan.

Besides being a prolific artist, she teaches printmaking at the University of the Philippines College of Fine Arts and is an outstanding arts manager, which she demonstrated while serving as President of the Philippine Association of Printmakers (PAP) from 2007 to 2012.

In this conversation with Ambie recorded in Manila on 12 June 2019 as she prepared for her show at Galleria Duemila, she talked about the new solo, her artistic inquiry, the elements in the exhibition, and her approach to using the space in the gallery.

Tony Donaldson. Oral history interview with Pandy Aviado, Quezon City, 21 March 2019.

Ambie’s experience at the Cité residency in Paris has been captured by Deanna Ongpin-Recto in Letters from Paris published in the Philippine Daily Inquirer, 1 August 2011.

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Tell me about your new exhibition.

This exhibition is a continuation of my inquiry about self. It is an expression of my curiosity about the self. There is a strong desire in me to understand the self. We are always preoccupied with defining ourselves. We have questions such as who am I, what is the purpose of life, and why am I here? In the long process of my inquiry into the self, I have gained an understanding of what it means to be human and that is why I created Beyond My Body. It is about the temporal nature of the body because there was a time in my life when I came to realize that we are not just bodies, the core of our being, ‘Self,’ is nonphysical.

Time is important because it relates to how we function in our daily life and in understanding how we evolve, but in the new exhibition, I probe into the self again by asking the question, “Is the Self time bound?” We often think of the self in the present and that whatever has happened in the past is only a memory. But can we really say the past is nothing else but a memory of the self? While it is true that certain characteristics in our being change as we evolve, the core of our being as a unique individual remains constant over our lifetime and beyond. In Beyond My Body I proposed our being is beyond our physical body, meaning the self remains even when the body has gone.

In this exhibition, I present three portraits – one is of my childhood, one of my present and one of my future. In putting the works together, I propose that if we desire to understand self, we must separate ourselves from the context of time. I will install the three portraits next to each other so viewers can see them in the context of life-stages, but with a suggestion that they are to be taken as a whole because each portrait, each stage is but a part of the whole.

There are also prints of the portraits which are juxtaposed with each other as if in a dialogue, to suggest that we if we desire to understand our being, we cannot separate our past from our present, our present from our future and our past from our future. The portraits are unified by the rain in the background. I like to use rain as a metaphor because there is something constant about the rain - wherever I go, whatever memory of the rain I have from my childhood or any time of my life, there is something constant about the mood it gives me, whether I am in Europe, America or Asia. Even the sound it creates. The rain brings me into a deeper contemplation of my entire being and that is why the title of this show is …in the constant rain…

Why did you include a swing?

You find your alone time in a swing. There is also movement like the ticking of a clock or a pendulum because it takes you back-and-forth and it can bring you to a state of contemplation. It is like a mantra. A mantra is repeated and because there is a repetition, it brings you to a deeper consciousness. The intention in this exhibition is to bring an audience to a contemplative state.

Sitting in a swing may bring nostalgia or memories of your childhood, but surrounding you is the concept of deconstructed time in the hope it will bring you to a deeper consciousness of the self, detached from the context of time while sitting in a swing.

What does the butterfly represent?

The butterfly is personal to me. It symbolizes the presence of a spirit, like of a loved one no longer with us. It is as if a butterfly can recognize this spirit and it follows where it roams. The constant is still present there too, but not in bodily form.

In what way did the space in the gallery influence the work or how you are exhibiting it?

An artist must be ready to be creative in any situation. Any space can be an art space - even under a table can be an art space. It is a creative problem for the artist to work out how to transform space into an art space for an intended experience. The space in a gallery is the starting point of my creative process because I cannot change it. I must understand and see the potential of the space. The first thing I did was to visit the gallery because it is the “given space� and I wanted to feel it and see the possibilities in the given space.

The gallery consists of two areas - the first room and a more intimate room inside which is enclosed. The first area has five glass doors which gives one a sense of the outdoors and I love that because there are plants and stones outside and so one gets the feel of the outside world which is more natural than the chaotic cityscape. I wanted to take this natural outdoor environment and extend it inside by creating a seamless or gradual transition from outside to

inside without the audience feeling they are enclosed. This was the advantage I saw in the first room and that is why I put the rain, the butterflies, the swing and the clocks there.

I put the swing in this room because it is usually in an outdoor space, typically hanging from a tree where one can see the fields and the sky, and so being in a swing can remind us of the big picture in terms of where we are and where self is. The idea is to invite the audience to go into a deeper reflective experience before seeing the three portraits and the dialogues between them in the inner room which is a more intimate space, and a good space for people to reflect on the self.

Why do you love rain?

When we are in the presence of nature in the physical universe, we can marvel and be awed by it. There is something special about every single aspect of our universe. Rain, these countless droplets of water coming from the sky – from evaporation to condensation to precipitation – it’s a wonder how it works! And something uniquely special about it is that this part of nature literally comes down to touch us – we do not come to touch the rain; it comes to touch us.

When I am in the rain, I feel I am being embraced by nature, by the universe – that is one thing special about it. Also, as a physical experience, after being out in the rain, I feel cleansed and refreshed. 

DR. TONY DONALDSON In 2008, Dr. Donaldson joined the Institute of Southeast Asia (ISEAS) in Singapore, as a Visiting Research Fellow, to initiate a research and writing project on contemporary artists across the Asia-Pacific region. Since then, his articles on Asian art have been published in art magazines, journals, catalogues, newspapers, and books in Hong Kong, China, Malaysia and Sri Lanka. Currently, he is Researcher and Writer for the Malaysia-based Barehands project to produce an academic book documenting its history over ten years which involves thirty artists from Jordan to Japan. Dr. Donaldson is currently based in Melbourne, Australia.

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Stillness 2019 wooden narra swing with engraving

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the constant rain 2019 handmade paper mounted on clock

33.50 X 93.00 X 2.00 CM

76.20 IN DIAMETER X 7.62 CM

/ 13.20 X 36.64 X 0.79 IN

/ 30.02 X 30.02 X 3.00 IN

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BACKGROUND (LEFT TO RIGHT)

...in the constant rain...

2019 engraved wood

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Infinity 2019 engraved narra wood with stone and clock

32.02 X 26.04 X 8.26 CM

243.21 X 114.30 X 8.26 CM /

/ 12.62 X 10.26 X 3.25 IN

95.82 X 45.03 X 3.25 IN

...in the constant rain...

2019 engraved wood

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Fibonacci 2019 engraved narra wood with metal, stone and clock

243.21 X 114.30 X 8.26 CM

75.56 X 26.03 X 16.51 CM

/ 95.82 X 45.03 X 3.25 IN

/ 29.77 X 10.26 X 6.50 IN

...in the constant rain...

2019 engraved wood

243.21 X 57.15 X 8.26 CM

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Metamorphosis 2019 engraved narra wood with metal, stone and clock

/ 95.82 X 22.52 X 3.25 IN

78.11 X 43.18 X 19.69 CM

/ 30.78 X 17.01 X 7.76 IN

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Timeless 2019 engraved narra wood with copper nails and clock

...in the constant rain...

2019 engraved wood

243.21 X 114.30 X 8.26 CM

/ 95.82 X 45.03 X 3.25 IN

46.99 X 45.72 X 10.16 CM

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detail of Stillness

/ 18.51 X 18.01 X 4.00 IN

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...in the constant rain...

2019 engraved wood

243.21 X 57.15 X 8.26 CM

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Existence 2019 engraved narra wood with clock and pendulum

/ 95.82 X 22.52 X 3.25 IN

77.47 X 32.39 X 5.08 CM

/ 30.52 X 12.76 X 2.00 IN

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LEFT TO RIGHT

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LEFT TO RIGHT

Introspection (1a) 2019 woodcut on handmade paper mounted on canvas

Reflexive Nature of Consciousness (1) 2019 engraved wood

182.88 X 114.30 X 7.62 CM

149.86 X 53.34 X 6.99 CM

/ 72.05 X 45.03 X 3.00 IN

/ 59.04 X 21.02 X 2.75 IN

Introspection (1b) 2019 woodcut on handmade paper mounted on canvas

Reflexive Nature of Consciousness (2) 2019 engraved wood

182.88 X 114.30 X 7.62 CM

/ 72.05 X 45.03 X 3.00 IN

/ 59.04 X 21.02 X 2.75 IN

Introspection (2a) 2019 woodcut on handmade paper mounted on canvas

Reflexive Nature of Consciousness (3) 2019 engraved wood

182.88 X 114.30 X 7.62 CM

/ 72.05 X 45.03 X 3.00 IN

/ 59.04 X 21.02 X 2.75 IN

Introspection (2b) 2019 woodcut on handmade paper mounted on canvas

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Self Gaze (1) 2019 woodcut on handmade paper mounted on canvas

152.40 X 39.37 X 11.43 CM

/ 60.05 X 15.51 X 4.50 IN

/ 59.04 X 21.02 X 2.75 IN

Introspection (3a) 2019 woodcut on handmade paper mounted on canvas

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Self Gaze (2) 2019 woodcut on handmade paper mounted on canvas

33.02 X 76.20 X 7.62 CM

/ 13.01 X 30.02 X 3.00 IN

/ 59.04 X 21.02 X 2.75 IN

Introspection (3b) 2019 woodcut on handmade paper mounted on canvas

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Self Gaze (3) 2019 woodcut on handmade paper mounted on canvas

33.02 X 91.44 X 7.62 CM

/ 13.01 X 36.03 X 3.00 IN

/ 59.04 X 21.02 X 2.75 IN

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detail of Introspection (1b)

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Conversations 2019 woodcut on handmade paper mounted on canvas

195.58 X 109.22 X 7.62 CM

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detail of Reflexive Nature of Consciousness (2)

/ 77.06 X 43.03 X 3.00 IN

149.86 X 53.34 X 6.99 CM

149.86 X 53.34 X 6.99 CM

149.86 X 53.34 X 6.99 CM

149.86 X 53.34 X 6.99 CM

149.86 X 53.34 X 6.99 CM

MA. VICTORIA “AMBIE” REYES ABAÑO (b. 1967, Philippines) Licensed Architect, Republic of the Philippines, 1996 Visual Artist since 1986 Printmaker since 1998 EDUCATION

2015 1990 1985

Master in Fine Arts, University of the Philippines College of Fine Arts, Diliman Quezon City Bachelor of Science, Architecture, University of Santo Tomas, Manila City High School, St. Scholastica’s College, Leon Guinto, Manila City

OTHER COURSES ATTENDED

2012

2011

2001 2000

1994

1990 1988 1987 1986 1984 1982

Lithography Workshop, under Master Lithographer Devraj Dakoji, Robert Blackburn Printmaking Workshop, New York City Various Intaglio Techniques (drypoint , engraving, viscosi ty, etc.) under Francoise Bricaut La Taille douce, rue Ernestine, Paris, France Managing the Arts Program Asian Institute of Management, Makati City Lithography and Color Lithography under Master Lithographer Devraj Dakoji, Robert Blackburn Printmaking Workshop, New York City Acting for Adults Summer Drama Workshop under Bart Guingona Tanghalang Pilipino, Cultural Center of the Philippines, Pasay City Anatomy for Artists and Designers Cultural Center of the Philippines Printmaking Workshop under Professor Malte Satorius, Philippine Women’s University Landscape Painting under Ibarra Dela Rosa, Philippine Women’s University Advanced Still Life Painting under Ibarra Dela Rosa, Philippine Women’s University Basic Drawing under Benjamin Cabrera, Print Collections Gallery-Workshop, Leon Guinto, Manila City Teen Theater I , CITASA Summer Workshop, Philippine Educational Theatre Association

AWARDS

2017 2006 1998 1987

Finalist (Winning Work), Hida-Takayama International Woodblock Prints Trienale ’17 Grand Prize Philip Morris Philippine Art Award Finalist Philip Morris Philippine Art Awards Grand Prize Painting Category, AAP Open Art Competition

ARTIST’S RESIDENCIES / ART CAMPS

2018 Nov

May

2017 Apr-May

2016 Apr-May 2015 Nov 2015 Jun 2012 Jan

2012 May-Dec

May 2011 May-Aug

Philippine Representative, Barehands Artist Residency Vol II Akaldiulu Studio, Hulu Langat, Kuala Lumpur, Malaysia Philippine Representative, A(rt)dorable Meadows Jakarta VIP Fine Arts International Art Exhibition, Jakarta, Indonesia Philippine Representative, Barehands - Asian Arstist Residency Hulu Langat and Kuala Lumpur, Malaysia Philippine Representative, Barehands - Asian Arstist Residency, Fukuoka, Japan Philippine Representative, Barehands - Asian Arstist Residency, Bandung, Indonesia Philippine Representative, Visual Art for ASEAN, Nan Province and Bangkok, Thailand Philippine Representative, Asian International Art Exhibition (AIAE) Art Camp Krabi, Thailand Recipient, Asian Cultural Council Artist Residency Program, New York City USA Philippine Representative, Speaking House Art Camp, Kerala, India Recipient, Alliance Française de Manille Philippine Artist Residency Program, Paris, France

SOLO EXHIBITIONS

2018 2017

Sept second movement, Pinto Art Museum, Antipolo Aug-Sept moment musicaux, Altro Mondo Contemporanea, Makati

2016 2016 2015 2014 2014 2013 2012 2012 2011 2011 2008 2007 2006 2001 2000 1999 1993 1992 1992 1988

Nov Aug-Sept Jan-April Aug Jan Jul Nov May Jul Feb May Nov Jun-Aug Feb May Sept-Oct Jul Sept Jul Feb

beyond my body, Corredor Gallery, UP College of Fine Arts, Diliman beyond my body, Finale Art File File, Makati Bayi, Kapitana Gallery, Balay ni Tana Dicang, Silay, Negros Occidental Galimgim, Tin-aw Gallery, Somerset Olympia, Makati Lifted Veils, Altro Mondo Contemporanea, Greenbelt 5 Makati transFIGURATIONS, West Wing, Vargas Museum, UP Diliman ISCP Open Studio Room 206, Int’l Studio and Curatorial Program, Brooklyn, New York Sanctuaire des memoire, Alliance Française de Manille, Makati Ambie Abaño Open Studio, Cité International des Arts, Paris, France surFACE, Alliance Française de Manille, Makati Parisukat, Avellana Gallery, Pasay Romancing the Leaves, Habi Interiors/Gallery, Serendra, Makati TransFIGURATIONS, Pasilyo Guillermo Tolentino, Cultural Center of the Philippines In Bloom, Casa Victoria Gallery, Jersey City, New Jersey USA Florescence, Mai Room, Ayala Museum, Makati In Bloom, Infinitum Galleries, San Juan Mula sa Punla, Philippine Art Center, New York Flowers and Bromeliads, Philippine Peso Transfer, Miami, Florida Luntian, Kulay ng Buhay, Philippine Art Center, New York, NY USA Ambie Abaño, UP Los Baños Art Gallery, UPLB Laguna

2/3-ARTISTS EXHIBITIONS

2016 2015 2015

Mar Oct July

SDG5 Art Exhibition (Two-women Exhibition), Asian Development Bank, Mandaluyong Passages (Three-women Print Exhibition), The Print Gallery BenCab Museum, Benguet In Process (Three-women Print Exhibition), Café by the Ruins Dua, Baguio City

SELECTED GROUP EXHIBITIONS PHILIPPINES

2019 Jun-Aug

May

Feb

Feb

Feb 2018 Nov

Nov

May-Jul

Mar-Apr

Mar-Apr

Mar

Mar

Feb-Mar

Feb-Apr

Jan 2017 Dec

Nov

Sept-Oct

Aug

Jun-Aug

Feb

2016 Nov-Dec

Nov-Dec

Hands On: touch, engage, create, Cultural Center of the Philippines Ang Gaga, Tin-aw Gallery, Olympia Plaza, Makati City Essentially Sublime Art Anton, S’Maison, Conrad Hotel Art Fair Philippines 2019 (Altromondo Contemporanea;Tinaw Gallery) The Link Carpark, Makati The Asian Cultural Council Art Auction 2019, Leon Gallery, Legaspi Village, Makati Art Gifts, UP College of Fine Arts, Diliman Quezon City Memories, Signum Contemporary Objects, A-11, Pasay City TIRADA, PAP 50th Year Anniversary Exhibition, Cultural Center of the Philippines Femaliarity, Block 17 Art Space, Lopue’s Annex Building Mandalagan, Bacolod City Consonant Forms, Resonant Practice, Yuchengco Museum RCBC Plaza, Ayala Ave., Makati The Asian Cultural Council Art Auction, Leon Gallery, Eurovilla 1 Legaspi Village Makati For HeArt’s Sake: UP CFA Alumni Exhibition, Batasang Pambansa, Quezon City Art Fair Philippines 2018 (Tinaw Gallery/Altromondo Contemporanea) The Link Carpark, Makati

By Hand, 12th Floor Gallery DSA Building, College of St. Benilde, Manila City Hakos, Tin-aw Gallery, Olympia Plaza, Makati Art Gifts 2017, Corredor Gallery, UP College of Fine Arts, Diliman Quezon City Alay Sining 10, Greenbelt 5, Makati City Nature Nurture, Pasilio Guilermo Tolentino, Cultural Center of the Philippines Left Wing Right Wing, Corredor Gallery, UP College of Fine Arts, Diliman Quezon City Of Art and Wine, Masters of Print, Gallery C, Conrad Hotel, Pasay City Art Fair Philippines 2017 ( Altromondo Contemporanea/Tinaw Gallery) The Link Carpark, Makati Higher, Art Anton, Conrad Hotel Manila, Pasay City Base Camp: Maximus X Tinaw, Mandaluyong City

Nov

Jul

Aug-Sept

Aug

Jul

Feb

Feb

Dec 2015 Dec

Dec

Nov

Sept

Sept

Aug

Jul

Jun

May-Jul

Feb

Feb-Mar

Feb

2014 Nov

Nov

Oct

Oct-Nov

Sep-Oct

Sept

Sept

Aug-Sept

May

April

Mar-Apr

Feb

Feb

Feb-Mar 2013 Nov-Feb

Jul

Jun-Jul

Feb 2012 Aug

July

May

May

Apr

Mar

Mar

Mar

Feb

Feb 2011 Dec

Jun-Aug

Mar

Feb-Mar

Alay Sining 9, Greenbelt 5, Makati City Asian Cultural Council Exhibition, Conrad Hotel Manila, Pasay City Papers and Layers, Cultural Center of the Philippines, Pasay City Left Wing Right Wing, Corredor Gallery, UP College of Fine Arts, Diliman Quezon City Small Works, Tin-aw Gallery, Olympia Plaza, Makati City The Asian Cultural Council Art Auction, Leon Gallery, Eurovilla 1 Legaspi Village Makati City Art Fair Philippines 2016, ( Altromondo Contemporanea),The Link Ayala Center, Makati City Territories, Bulwagang Fernando Amorsolo, Cultural Center of the Philippines, Pasay City 10/10 Art by the Bay, Philippine Association of Printmakers’ Studio, CCP Complex Art Gifts 2015, Corredor Gallery, UP College of Fine Arts, Diliman Quezon City Alay Sining 8, The Gallery Greenbelt 5, Ayala Center, Makati City KLOMP/ART, The Peninsula Manila, Makati City Zonta Club, FilipinaZ Art and Fashion Fair, Rockwell Tent, Makati Left Wing Right Wing, Corredor Gallery UP College of Fine Arts, UP Diliman, Quezon City Time Lapse, Tin-aw Gallery, Olympia Plaza, Makati City Spectacular MidYear Auction 2015, Leon Gallery Eurovilla 1 Legaspi Village Makati City Scratched, Kapitana Gallery, Silay Negros Occidental Asian Cultural Council Philippines Art Auction, Leon Gallery, Legaspi Village, Makati City Pumapapel, Erehwon Art Center, Old Balara Quezon City Art Fair Philippines 2015( Altromondo Contemporanea, Tinaw Gallery) The Link Ayala Center, Makati Bungalow 300 Pop Up, A11 Showroom, 2680 FB Harrison Pasay City Alay Sining 2014, Rotary Club Makati, Greenbelt 5, Makati Avenue, Makati Manila Art (Altromondo Contemporanea), SM Aura, Taguig Luminescence, Metropolitan Museum of Manila, Roxas Boulevard, Manila City MetOpen Benefit Exhibition, Metropolitan Museum of Manila 25@45 Print Portfolio, 3th Floor, Cultural Center of the Philippines Zonta Club FilipinaZ Art and Fashion Fair, Rockwell Tent, Rockwell Center, Makati City Relative Realities, Yuchengco Museum, RCBC Plaza, Makati City Acid Free, NOW Gallery, Chino Roces, Makati City Kandinsky Show, JStudio, Taguig City Amazing “F”, Erehwon Art Center, Old Balara Quezon City Art Fair Philippines 2014 (Altromondo Contemporanea) The Link Ayala Center, Makati City Impetus, NOW Gallery, Chino Roces, Makati City Traces: Deutscher, German Club, Legaspi Village, Makati City Press On, CCP Small Gallery, 4th Floor, Cultural Center of the Philippines Anyare, Corredor Gallery, UP College of Fine Arts, Diliman Quezon City 27th Asian International Art Exhibition (AIAE) Homecoming, Ayala Museum, Makati City Art Fair Philippines 2013 ( Philippine Art Awards), The Link Ayala Center, Makati Art Now (for Everyone), SM Mall of Asia, Pasay City 40 Artists at 40, San Beda College, Alabang City Curved House, Blanc Gallery, Mandaluyong City Art Over Easy, Cultural Center of the Philippines Beyond Printmaking, Avellana Galleries, Pasay City pinoyprintmakers@germanclub2, German Club, Makati City UKIT (Print Portfolio), Center for Visual Printmaking School of Fine Arts and Design, PWU Manila 26th AIAE Homecoming, Ayala Museum, Makati Small World, Tin-aw Gallery, Makati City Heart to Heart Asian Cultural Council Auction, Finale Art File, Makati Regalo, Avellana Gallery, Pasay City El Guernica: Deconstruccion, Ayala Museum, Makati 25th Asian International Art Exhibition, Homecoming Exhibition, BenCab Museum, Benguet Tanaw Art Competition Exhibition Bangko Sentral ng Pilipinas, Metropolitan Museum of Manila

2010

Feb Dec Oct Aug Jul Feb

Petit Format, Cultural Center of the Philippines SinoBayani? Cultural Center of the Philippines Main Gallery Venerations of the Blessed Mother, Museo ng Arkidiyosesis ng Maynila El Prado, Ayala Museum, Makati HaloHalo, ManilaContemporary, Makati A Thousand Times Yes, Manila Contemporary, Makati

ABROAD

2018 Nov

Oct

Sept

Jun

Apr 2017 Oct

Oct

May-Jul

Jan 2016 Nov

Nov

Nov

May

May

May 2015 Nov

Oct

Jun-Jul

Mar 2014 Aug-Sept

Aug-Sept 2013 Feb-Mar

May-Jun

Apr 2012 May

Jan-Mar

Oct

Sept 2011 Sept 2010 Nov

Nov

Barehands Raw, Wei Ling Gallery, Gardens Mall, MidValley, Kuala Lumpur Malaysia International Care Ministry Art Auction, Hong Kong International Printmaking and Paper Art Show, Plaza Indonesia, Jakarta, Indonesia Pintokyo, Hillside Forum, Shibuya, Tokyo, Japan A(rt)dorable, International Painting Exhibition by Meadows, VIP FineArts, Jakarta, Indonesia International Care Ministry Art Auction, Hong Kong Hida-Takayama International Woodblock Prints Trienale ’17, Takayama, Japan Barehands, National Art Gallery, Kuala Lumpur, Malaysia Artruism 3, AFFORDABLE HeArt, Visual Arts Center,Hong Kong Asian Cultural Council Auction New York, New York Asian Silklink International Art Exhibition, UCITY Art Museum of GAFA, Guangzhou, China International Care Ministry Art Auction, Hong Kong Paper Trail, Sankring Art Space, Jl. Yogyakarta, Indonesia Full Contact, Art Space Tetra, 2-15 Suzaki Hakataku Fukuoka, Japan Barehands, Ashiya Gallery, 4-4 Nakanohama, Asiya Onga, Fukuoka, Japan Barehands, Gedung Yayasan Pusat Kebudayaan (YPK), Bandung, Indonesia AND, University of Iowa, University of Wisconsin, University of Tenessee, USA Visual Art for ASEAN, Ratchadamnoen Contemporary Art Center, Bangkok, Thailand Sphere Exchange Portfolio, SGC International, Knoxville University, Tennessee, USA ENAM SEMBILAN, Kompleks Jogja National Museum Wirobrajan, Yogyakarta, Indonesia Transition, di Legno Art + Home, Tanjong katong Rd. Singapore 28th Asian International Art Exhibition, Kinmen Cultural Park Historical Museum, Taiwan fěte de l’estampe, manifestampe- fédération national de l’estampe lance la première Maire de Limeuil rue de Port A Shared Experience, Printmaking show, Philippine Center, New York Memphis in May International Festival, Goodwyn Gallery Memphis Center Library, USA 27th Asian International Art Exhibition Ratchadamnoen Contemporary Art Center, Bangkok,Thailand RBPMW Annual Member Show, Rober Blackburn Printmaking Workshop, New York City, USA Eco Strokes (The Speaking House), Durbar Hall Gallery, Kochi, India 26th Asian International Art Exhibition Harangam Museum, Korea Penang International Print Exhibition, National Art Gallery, Penang, Malaysia 25th Asian International Art Exhibition, Mongolian National Modern Art Gallery, Ulaanbaatar

INSTITUTIONS WITH COLLECTION OF THE ARTIST’S WORK/S

Bangko Sentral ng Pilipinas Cultural Center of the Philippines Philippine Consulate, New York, NY, USA Philippine Consulate, San Francisco, CA, USA Philippine Embassy, Paris, France

galleria duemila was established in 1975 by Italian born Silvana AncellottiDiaz. Duemila means “twentieth century”, and it was this vision that inspired Duemila’s advocacy in promoting and preserving Philippine contemporary art. To date, it is the longest running commercial art gallery in the Philippines maintaining a strong international profile. With the vision to expose its artists locally and within the ASEAN region, Duemila complements its exhibits with performances, readings and musical events in its custom-built gallery in Pasay City, Manila.

Galleria Duemila takes pride in being the only local gallery to publish and mount retrospectives of artists as part of its advocacy in pursuing art historical research and scholarship. With the collaboration of institutions, Duemila has mounted the retrospectives of Roberto M.A. Robles (Ateneo Art Gallery, 2011), Duddley Diaz (Vargas Museum, 2009), Julie Lluch Dalena (Cultural Center of the Philippines, 2008). It has also published a book on Diosdado Magno Lorenzo (National Library of the Philippines, 2009) and produced a major Pacita Abad exhibition at the Cultural Center of the Philippines, 2004.

The gallery maintains close ties with museums throughout Asia, Australia, Europe, and the United States. Its futurist vision keeps it at the cutting-edge of Philippine art, making and archiving history as it happens.

services: conservation and restoration of paintings, consultancy services, commissions and installation

210 LORING ST. 1300 PASAY CITY, PHILIPPINES TEL +632 821 9990 | FAX +632 833 9815 | MOBILE + 63 927 629 4612 HELLO@GALLERIADUEMILA.COM | WWW.GALLERIADUEMILA.COM @GALLERIADUEMILA

A single raindrop is an important drop. What constitutes the rain is the multitude of droplets, each contributing to make up the phenomenon that bathes the earth in a cyclical occurrence. A single tick of the clock is a second passing. What constitutes time is every single second that make up the minutes, that make up the hours, and days, and months and years. What then constitutes Self?

As a being, we exist in a physical world where all is time bound.

Where all evolve over time. Where what is constant is change.

Where a caterpillar hatches out of a pinhead sized egg to grow and later become a pupa in a cocoon of silk over a period of time. Cells develop inside to become legs and wings and eyes and all other parts until it metamorphosizes into a butterfly. As living beings, we too evolve. In life we go through certain transformations from childhood to adulthood and to mature age. All that we experience happens within the context of time – where there is a past, a present and a future. We experience life in the passing of time. The butterfly is no longer a caterpillar. In the same way, as adults we are no longer children. Yet the very core of our being is a constant single unique entity. “...in the constant rain...� is an invitation for us to take a pause, to reflect and in the stillness, experience the core of our being - the essence of Self, beyond the context of the physical world. To marvel about the wonder of our being, our existence and how Self is also but a part of the whole universe in both the physical and metaphysical realm.

-Ambie-