Tipák Series

2026, Industrial paints and soft pastel on canvas

9 x 12 x 1 1/3 - 48 x 60 x 1 1/2 inches per Panel

Philippines

Tipák mimics asphalt road fragments. Its white longitudinal lines measure 4 to 6 inches, the same width as standardized road markings in the Philippines.

Within the series, the occasional children’s roadside drawings and street-game chalk markings, all rendered in soft pastel, illustrate the fragility of humanity within the world’s current hyper-optimized commodifying system.  

Igíb

2026, Plastic water containers, purified water, food dyes, acrylic box on found styrofoam base

10 x 12 x 15 3/4 inches

Manila, Philippines

Igíb encases the circulation of the most valuable liquids in the contemporary period: potable water and multiple petrochemical fuels. These fluids are contained within plastic bags and reused bottles, highlighting the informal sachet economy, such as bote-bote fuel and ice-tubig retailing.

Between fuel and water, the absence of blood in the valuable liquids container illustrates that the value of humans, revolving around these two liquids, is less than that of these resources, as seen in how they cause tension and conflict. 

Shaw Boulevard Station Platform

2026, Single-channel digital video (TouchDesigner), black and white, silent 

11 1/4 x 20 inches, 13-second loop 

Mandaluyong, Philippines

Shaw Boulevard Station Platform is a video depicting people located at the MRT-3 Shaw Boulevard Station Platform with applied video special effects mimicking surveillance systems.

Interloper (After Hesse)

2026, Found utility cable, site-specific intervention

Approx. 25 feet and 8 inches

Former Kamuning EDSA Bus Stop, Quezon City, Philippines

Interloper bends a discarded utility cable into a looping, arched form within the pillars of a decaying bus stop, interrupting the underutilized and underdeveloped infrastructure.

In systems where inconvenience is reframed as resilience under strongman political logic, the work performs this rigidity as instability for both the object and the bodies moving through and against it.

Codependency

2025, Photography and digital post-processing

10 x 13 1/2 inches

Manila, Philippines

Codependency depicts a homeless person sleeping beneath a worn American-flag blanket on a concrete Manila bridge, where its curve leads the eye toward a desecrated river and a political poster. The stark contrast between the achromatic foreground and hyper-saturated blue environment emphasizes the tension between the visual reality and one’s own felt condition.

The faded and dirtied flag, now turned shelter, functions as a symbol of uneven exchange: U.S. power as both protector and oppressor, an aspiration and abandonment. Shot on a 5-year-old iPhone, the image blatantly showcases digital artifacts and selective color manipulation, mirroring the abruptly unstable narratives Filipinos inherit from U.S. military history, imperialism, and diaspora-dependent economies. 

Mag isa na lang ba ‘kong lalaban?

2022, Photography and digital post-processing

10 x 13 1/2 inches

Manila, Philippines

Artwork for Pasahero para kay TsuperHero, a group exhibition by the PWU-SFAD BFPG 3A Studio Arts x UGATLahi Artist Collective.

The Pasahero para kay TsuperHero is a campaign alliance of commuters in support to the jeepney drivers and operators’ call for the abolishment of Public Utility Vehicle Modernization Program. This art exhibit aims to encourage artists and students participation to strengthen the calls and struggles of our jeepney drivers and operators through their artworks and collective action.

Lakbay (Journey)

January - December 2026 (Ongoing), Bare on floor sanitary hairnets and single-channel audiovisual installation

Dimensions variable

Manila, Philippines

Lakbay is an ongoing process-based installation composed of disposable sanitary hairnets accumulated through the artist’s use of motorcycle ridesharing as part of his daily life.

It visually quantifies the commodification of the convenience of mobility within Metropolitan Manila, where its population ritually participates in an ongoing battle with dense urban conditions and the lack of support for the overstretched public transportation system. 

*Available for curatorial inquiry

Shipbuilding

Further Information TBA

Shipbuilding examines circulation through a material transition from wooden vessels to contemporary steel tankers, tracing a shift from the movement of spice and gold to the global dominance of crude oil. Rather than presenting this as a historical contrast, the work treats it as a continuous system in which earlier maritime substrates are overwritten by current extractive infrastructures. 

Using petroleum-derived UV ink, industrial steel textures and fragmented vessel images are imprinted onto wood. Variations in resolution and aspect ratio introduce controlled abstraction, allowing images to stretch, compress, and degrade as if processed through systems of transport. In this condition, images no longer remain fixed representations but behave as circulating matter: unstable, transferred, and reconstituted across material and temporal conditions.

The project does not depict maritime history; it embeds contemporary logistical and petrochemical systems directly into the material memory of earlier forms, collapsing distinctions between past and present into a continuous field of movement.

*Available for curatorial inquiry

All Bitches Die

Under R&D, fog machine, Froggy’s Fog Charred Corpse scent additive, found objects, and audiovisual installation 

Dimensions variable

All Bitches Die re-enacts the catastrophe of the Navotas Landfill Fire during the second quarter of 2026. Causing reduced road visibility and advisory-driven travel restrictions due to hazardous air quality.

Named after the Lingua Ignota song and debut album, the installation imitates the Navotas beach and mangrove area, which was desecrated through the molestation of nature, ‘bitching’ the beach with pollution, by improper regulation of human waste and excess.

*Not available for inquiry