The launch was warmly welcomed by Manila Art’s visitors and enthusiasts as the event also highlighted some of Orlina’s artworks that were on display. 

ABOUT THE BOOK by Cid Reyes

He alone had uncovered the previously unknown.

No one in his country, the Philippines, or Asia, and no one anywhere on the entire planet ever did.

Otherwise, Michelangelo, Auguste Rodin, Henry Moore, and Constantin Brancusi could have used this material. People frequently say, “One man’s trash is another man’s treasure.” Still, Filipino-turned-global sculptor Ramon Orlina proved this point by creating dazzling sculptures out of recycled glass.

No less than the National Artist for Sculpture, Napoleon Abueva, lauded his groundbreaking work in the field. He praised Orlina for being a trailblazer in the glass sculpture field. In a country where the term “glass” is solely associated with windshields, industrial windowpanes, and practical items such as drinking glasses, ornamental figurines, and trinkets, the material was never considered worthy of artistic creations.

It wasn’t until Ramon Orlina came along.

Orlina has been captivating in his country’s art scene since 1976, and his influence has only grown. Many of the world’s most important cities in Asia, Europe, and the United States have hosted exhibitions of his works.

Now, in the ninth decade of his life, this Filipino sculptor is still at the forefront of glass art.

Glass is a material that naturally allows light to manifest its truths and realities through its clarity and transparency, but only to a sculptor who grasps its essence can it show its secrets and mysteries. Orlina exposes and embraces its many contradictions: Glass is stiff and pliable at the same time. Perhaps the most concerning aspect is its susceptibility to breakage. Its interior luminescence is light-dependent, but it appears to be floating in midair; it is motionless yet able to exhibit incredible movement articulations. Its light bursts quickly, but it remains indefinitely imprinted in one’s memory. Although glass has three dimensions, its ethereal depths make it appear to have more.

“Ramon Orlina: Visions in Glass” is the authoritative book detailing the life and work of a Filipino sculptor now known as “Il Maestro” among his contemporaries in the Asian, American, and European glass sculpture communities. Featuring lavish photography of his most important works, this book chronicles his innovative and prolific output over fifty years. The book thoroughly examines his significant works, including those for public and corporate spaces. His global accolades and global awards have also helped elevate the Philippines’ profile in the art world.

Ramon Orlina is a national treasure, and this book is a valuable resource for learning about his life and career.

Plugged into Fernalia: Art in the Age of AI, a special exhibit curated by Gromyko Semper, seeks to explore how artistry can thrive in an AI-driven world and what it could mean for the future of art. Through a unique curatorial approach, artists were invited to respond to specific prompts, offering their interpretations of AI’s impact on their craft. 

A story unfolds in the exhibit’s four thematic sections: “Origins and Inspirations” retrospects on the initial promise brought by AI to the artistic landscape; “Ethics and Appropriation” raises the ever-growing concerns of artists and the use of creative content by AI companies; “Human vs. Machine” compares AI-generated art with human-made works; and “Future Visions” imagines the path forward, the future of creativity in an AI-dominated world. 

Participating local and international artists include Noel Sadicon, Joshua Palisoc, Pen Medina, Isobel Francisco, Jonathan Benitez, Maria Magdamit, Judeo Herrera, Gilbert Semillano, Cheryl Hironaka, Glenn Martinez, Ali Alejandro, Roman Padilla, Angelo Padilla, Paul Benjamin Hilario, Jopeter Arias, Hermino Tan, Roberto Lolong, John Melvin Garcia, Joyce Pertez, Rem Kulas, AJ Pascua, Jascha Tolentino, Vince Balandra, Raeun Ramos, James Koehnline, Christian Townsend, and Peter Gric. 

 Artistic Exploration in 3D. The creative spirit refracts into countless forms of media, each offering a unique lens through which to view artistic expression. From Romulo Galicano’s masterful paintings to Darby Alcoseba’s surreal semi-murals, and Adeste Deguilmo’s cultural iconography to Joe Marie Sanclaria’s whimsical expressionism, the intersection of traditional and contemporary techniques is vividly showcased at ManilART. 

Diverse sculptural media are a mainstay throughout the fair. A stunning array of glass sculptures includes Ramon Orlina’s groundbreaking works, Anna Orlina’s avant-garde pieces, and Marge Organo’s delicately vibrant creations. Ombok Villamor’s iridescent oversized metal pieces capture the eye, while Agi Pagkatipunan’s functional wood art commands admiration (not to mention gives respite to weary fairgoers). The juxtaposition of ManilART Curator Danny Rayos del Sol’s carved skulls and ostrich eggs and Ram Mallari’s brass steampunk works, creates a paradoxical symbol of vulnerability and fragility belied by ideals of rebellion against the establishment. 

Hyperrealist Ed Coronel, multiple-time top prize awardee of the American Art Awards presents a three-part mural-sized canvas entitled “The Wave” as his detailed inquiry into realism and expression. Triggered by the conflict on the West Philippine Sea and continuing tensions in the region, Coronel paints gigantic black waves catching his iconic Grand Prize winning gummy bears, as symbols of resilience against the dynamics of dominance and flux of existence. The work receives the spotlight at the ManilART central podium area. 

This year’s participating galleries include 29 Kapitolyo Art Space, 371 Art Space, Annual Sculpture Review, Art Circle, Art for Space Gallery PH, Artalyer, Artienda Art Gallery, Artologist Gallery, Artes Orientes, AT Art Gallery, Daloy Likha Art Gallery, Drybrush Gallery, Espacio Manila, Florentino Gallery, Galeria Bañez, Galleria Nicolas, Galerie Artes, Galerie Raphael, Gallery Nine, Historia Art, Legacy, Life ’n Arts Gallery, M Gallery MNL, Museo Orlina, NAMI Art Gallery, OMVI Art Gallery, Pugad ni Art, Rayos Del Sol Gallery, Renaissance Art Gallery, VAM International Art Gallery, Village Art Gallery, and Ysobel Art Gallery.

The PPSRNP was established by virtue of Presidential Proclamation No. 835 issued on March 26, 1971. Formerly known as St. Paul Subterranean National Park, it initially comprised of 3,901 hectares. To ensure long-term viability of the PPSRNP, PP No. 212 was issued in November 12, 1999 increasing its area to 22,202 hectares and changed the name of the Park as it is presently known to properly identify it with the place.

The PPSRNP features a spectacular limestone formation. It contains an 8.2 km long underground river that flows directly to the sea. The lower half of the river is brackish and subject to tidal influence. This makes it one of the most unique natural phenomena of its kind to exist. The PPSRNP also contains a full mountain to sea ecosystem and is designated a core area for the Palawan Biosphere Reserve. It is declared as a National Committee on Geological Sciences (NCGS) for its scientific importance as a permanent laboratory for studies on geological processes, uniqueness and high scenic value. In recognition of its globally significant natural properties, it was inscribed to the United Nations Educational, Scientific and Cultural Organization (UNESCO) list of Natural World Heritage Sites on December 4, 1999

Through the earnest efforts of Mayor Edward S. Hagedorn, management of the PPSRNP was transferred from the Department of Environment and Natural Resources to the City Government of Puerto Princesa in 1992. It has the distinction of being the first national park devolved and successfully managed by a Local Government Unit, It is managed by the City Government of Puerto Princesa through a Protected Area Management Board (PAMB), a multi-sect policy making body that provided policy directions and other oversight functions. It is one of the few examples of effective protected area management in the Philippines.

HOW TO GET THERE

From Puerto Princessa City (Palawan), take a jeep or hire aircon shuttle vans to the park. It takes around 1 ½ hours for the 81 km. trip passing Bgy. Cabayugan to Sabang then 10-15 minutes pumpboat ride from Sabang to Underground River

Or, instead of the pumpboat, an alternative 4 km trail to the Cave is designed in such a way that it allows visitors to trek through the different forest formations of the PPSRNP that will take around 1½ to 2 hours hike passing through monkey trail, offered for adventurous and outdoor lover visitors.

CRUISING THRU THE CAVE

The Underground River is easily navigable subterranean river in the world. Park operated paddle boats take visitors for a 45 minutes tour of the cave to experience and appreciate the interesting rock formations. Notable are the thousand of bats and swiftlets that inhabit the cave.

One can enter the underground river on board a small boat (banca) with outriggers, equipped with searchlight and accompanied by an enthusiastic and entertaining boat man.  Once aboard the boat, the adventure starts. 

As you enter the cave, you will be welcomed by a cool light breeze, flying bats and swiftlets. And slowly light fades as you go deeper in the cave, so dark that without the searchlight it will be impossible to see even your own hand.

As the cruise go along the cave, the boatman entertains visitors with rich information combined with a great sense of humor to make the journey enjoyable and entertaining. The cruise will take about 45 minutes, an unforgettable experience and appreciation for nature with the fascinating doomed amphitheaters and rock formations that the boatman named some of it mushroom, holy family, candle, sexy lady, titanic and much more. What are these? Well, you better come and visit the Underground River to find out.

After the cruise, visit the Ethnographic Museum located at the visitor’s center to learn about the culture of the indigenous people of the area.

PARK REGULATIONS

• Visitors are prohibited from hunting, destroying, disturbing or possession of any plant or animal.
• Mutilating, defacing or destroying objects of natural beauty
• Damaging and leaving roads and trails in damaged condition.
• Altering, removing, destroying or defacing boundary marks or signs.

ENTRY REGULATIONS

The park strictly enforces a “NO PERMIT, NO ENTRY” policy. Visitors are required to register and will be given a short briefing at the Park Headquarters before being allowed to proceed. Secure permit at Puerto Princesa Subterranean River National Park Office, located in 2^nd Flr. Basaya Building, San Miguel National Highway, Puerto Princesa City, Palawan

The rice grains are covered completely in water and are soaked overnight. The mixture is then drained and packed densely into bamboo tubes and steamed. The sides of the bamboo tubes are greased with coconut oil or margarine to keep the rice from sticking. The vendors then tap the bamboo tubes to push
the cooked rice out.

The rice is typically served wrapped in banana leaves and served with softened butter or margarine, coconut flakes and brown sugar. Nowadays, other vendors started to add some special toppings to the puto bumbong such as slices of leche flan, cheese or condensed milk.

Puto bumbong are usually cooked and serve on the spot, typically parked outside churches to serve the patrons after the Simbang Gabi. (Simbang Gabi is a devotional nine-day series of Masses, held from December 16th to the 24th, practiced by Filipino Catholics in the Philippines in anticipation of Christmas.)

HOW TO MAKE PUTO BUMBONG

Ingredients

• 1 1⁄2 cup cups glutinous white rice (malagkit)
• 1 1⁄2 cup black rice or purple rice
• 6 cups water (or as needed for soaking the rice)
• 1⁄2 tsp purple food coloring
• 3⁄4 cups muscovado sugar (for topping)
• 1 1⁄2 cups freshly grated coconut (for topping)
• 1⁄2 cup softened butter or margarine (for topping)

Instructions

• Combine the glutinous rice and black rice in a large mixing bowl, pour water and add food coloring, then cover and soak overnight.
• Drain the water from the rice. (Reserve some of the water.)
• Put the soaked rice in a food processor or blender. Transfer to a clean bowl or container. Moisten the powdered rice with 1⁄2 cup reserve water or until it looked liked wet sand.
• Fill the puto bumbong steamer with water halfway through. Apply heat and then let the water boil. (If you do not have the steamer, cut out foil sheets and form into 1-inch wide cylinders. Fold or twist the ends under one end of each to seal the cylinder. Butter or oil the inside of the foil cylinders to prevent the rice from sticking. )
• Fill each bamboo tube with powdered rice and arrange each bamboo tube on the steamer. Continue to cook until steam comes out of the tube.
• Remove from the tube and place puto bumbong over piece of banana leaf or plate. Spread butter, top with freshly grated coconut and muscovado sugar.

The theme for this year’s awards, ‘Diwa ng Likhang Pinoy: Yaman ng Matatag na Bayan, Dangal ng Nagkakaisang Lahi’ highlights the innovative Filipino nation through architecture and the allied arts. It also represents the spirit and values of the Filipino rooted in resiliency, strength, and ingenuity. All designs align with Haligi ng Dangal’s objectives of awarding works designed and built to withstand contemporary challenges through places and spaces for Philippine communities. The designs are also testaments to the crucial role of well-executed designs in creating quality Filipino places. It also showcases the harmonious integration of cultural values, national identity, and the natural environment of our nation through the best works in architecture and the allied arts.

National Commission for Culture and the Arts Chairman Victorino Manalo attended the awards night and gave his opening remarks to kick-off the event.

The Haligi ng Dangal Awards 2024 awarded honorees for the architecture, landscape architecture, interior design, and town or environmental planning as well as an honoree for the People’s Choice Category won through online public votes.

The winners for each category are as follows:

• Architecture Honoree – Spin Hostel by Arch. Edwin Uy
• Landscape Architecture Honoree – Our Lady of Lourdes Chapel Church Grounds by L. Archt. Vic Dul-Loog
• Interior Design Honoree – Agwas Bamboo Café by IDr. Sheryl Mariñas
• People’s Choice Awardee – Casa Nuan by Arch. Kym Jaffina Pineda

More than a showcase of indigenous craftsmanship, the foundation envisions the Tam-awan Village as an ideal venue for art and cultural activities aimed to enhance the appreciation of Cordillera life, its culture and its history.

The Chanum Foundation, Inc., founded in 1998, began to reconstruct Ifugao houses in Baguio with the view of making a model village accessible to people who have not had the chance to travel to the Cordillera interior. Building on the land near an abundant spring, the foundation started out with three knocked-down huts transported from Banga-an, Ifugao. The village now has seven Ifugao huts and two Kalinga houses. Using the original materials and adding only new cogon roofs, traditional artisans reconstructed the houses and laid them out resembling the design of a traditional Cordillera Village.

An Ifugao house is compact and though deceptively simple, its architecture is quite sophisticated. Built by clever mortise makers without nails or hardware, it exemplifies the exactness of Ifugao construction. With the heavy hand-hewn timber elevated to about shoulder height by four posts usually made of hard wood, the house, with periodic re-roofing, can last several generations.

The Kalinga house is more spacious and is made with the same hand-hewn pinewood. The binayon is the traditional octagonal house of Southern Kalinga Province and Tam-awan Village is proud to present one the three remaining such houses in the country today.

In keeping with the spirit in which the village was originally conceived, Tam-awan Village has become a venue for art exhibits and workshops envisioned to foster a deeper understanding, respect and pride in the cultural heritage of the Cordillera people.

The village is an experience in itself. By living in the huts, guests get an opportunity to immerse in an atmosphere that allows them to get a glimpse of village life. 

There are 7 Ifugao huts and 2 Kalinga huts that can accommodate around 35 guests. The village has a café where guests can eat traditional meals of the locals. Cultural dancers in their native costumes are presented in the village every Saturday.

On a clear day, a magnificent China Sea sunset can be viewed from the village, being true to its name as Tam-awan, that is, vantage point.

From Baguio city proper to Tam-Awan Village is about 10-15 minutes by taxi, or 20-30minutes by jeepney but will have to walk for 5 minutes to the village.

Tam-awan artists

Tam-awan village is also a haven for Artists. Upon the entrance of the village, you will be welcomed by their different artworks, paintings and wood carvings which you can eventually see scattered all over the village. It is the reason why the village is also a favorite of other artists and photography enthusiasts alike.

To be part of Tam-awan’s Artist group, one should definitely know the culture of the Cordillera because this is the important part the village wants to portray, and at the same time preserve for the future generation.

The artists also offer on-the-spot painting for a minimum cost which one can take home as a souvenir.

There are about 26 active artists in the village, with age ranging from their 20’s to their mid 50’s. 

Tam-awan dancers

Headed by Mrs. Hilda Lubos, the Tam-awan Village dancers, dressed in their native costumes, perform every saturday to portray a dance ritual called the “Kanyaw”. 

The “Kanyaw” is usually performed when there is a gathering or celebration among the Ibaloy Tribe in Benguet. The ritual is in the feast itself, whether the gathering is for thanksgiving to the lord, spirits of the departed or feast of the dead (similar when we celebrate November 1).  As long as you hear the gongs playing or see the smoke of the roasted pig, it is considered that you are invited to the festivities.

The ritual, “Kanyaw”, is performed by a couple or a family. The husband carries two blankets while the wife carries over one. The couple will then have to dance around for three to four rounds, after which a priestess or the “mambunong” will bless them and give them rice wine to drink as they say, “this is a blessing from the Lord”. (Drinking of the rice wine symbolizes accepting the blessing). After drinking the wine, they perform again for 3 to 4 rounds and give the blanket to the relatives to do the dance. After everybody in the family has danced, the visitors are then welcome to dance.

In Tam-awan village, visitors are encouraged to take part in the dance. And the blanket is passed on from one person to the other. The dance goes on for hours in the village.  Warm smiles fill the faces of the locals and visitors alike as each one takes turn in the dance. The experience itself enhances the appreciation and understanding of the culture. 

The dance, the wine and the sound of the gongs will surely make your Tam-awan village experience enriching, educational and memorable.

During our visit, we have seen an 86 year old woman, the oldest member of the dance group. By the merely looking at their faces, and the way they move, dance and perform, you can’t tell it otherwise.

On your way to the Chocolate Hills, you will be welcomed with the beauty of Bohol’s Man Made Forest. Planted initially to prevent flash floods in the area and maintain ecological balance in the remaining natural forest, the man-made forest of Bilar is the largest man-made forest in the country. Thousands of mahogany seedlings were planted during the time of Governor Lino Chatto on a cleared area of 857.4 hectares in Bilar and Loboc towns. The tall Mahogany trees can be seen along the road as you travel to Chocolate Hills.

The story behind the formation of the chocolate hills? Well, about 2 million years ago, most of the island of Bohol was below a shallow sea. Coral reefs, similar to these found offshore of Northern Bohol, thrived and extremely covered the sea floor. During stormy days, fragments of coral reefs and shells derived by waves from the reef were deposited mostly by the landward side of the reefs. The coral and shell fragments formed relatively thin layers surrounding the live coral reefs.

Slowly, the land rose causing the coral reef formation to emerge out of the sea. The Southern section of Bohol had been uplifted more than the Northern section.

The chocolate hills had been carved out from the relatively thin layers of coral reef and shell fragments. During the initial stages, gullies were formed and developed in the low-laying areas and lakes occupied pre-existing depressions.

Coral and shell fragments are largely composed of calcium carbonate, a chemical compound that can be dissolved by acidic solution. Rainwater becomes slightly acidic by dissolving carbon dioxide from the atmosphere. Thus, rainwater can dissolve coral and shell fragments but this happens slowly. With rainwater acting on the thin layer of coral and shell fragments for tens to hundreds or thousands of years, gullies were deepend and widened to become streams and lakes were emptied by underground rivers and inter-connected hills were formed the original flat surface.

When the base of the soluble formation was reached, down cutting ceased and lateral erosion became dominant. Valleys were widened, remnants of the layers of the highly dissected areas were dissolved away and the connections between the neighboring hills were also dissolved away. The Chocolate Hills that you now behold are products of the patient laboring of rainwater on this soluble limestone formation.

There are 1,268 hills in 3 municipalities.

In recognition of its special characteristics, scientific importanct, uniqueness and high scenic value, the National committee of Geological Sciences declared the Chocolate Hills of Bohol a National Geological Monument, as of June 18, 1988.

There are 214 agonizing steps up to the designated viewing deck. It’s tiring but when you reach the top, it’s all worth it. People cram to have the best shot in the area. You have to wait for your turn to be able to take a good picture with the hills. Yes, patience is a virtue and you have to be quick too because people are also waiting for you to finish. So when you are positioned in the spot you think is best, take all the pictures you want as fast as you can. Don’t forget to smile!

The press conference opened with a carousel introduction by Gab Loste, who presented the key dates, calendar of activities, while highlighting the event’s alignment with the Museums and Galleries Month (MGM) theme, “Ani ng Sining, Bayang Malikhain” (Art’s Harvest, A Creative Nation). MGM emphasizes the flourishing of creativity as a collective force rooted in the imagination of the Filipino people.

ManilART Head Curator Danny Rayos Del Sol discussed the activities and an overview of the exhibitors, while ManilART Foundation President Amy Loste discussed the various satellite shows running alongside the main fair.

A significant highlight of the press conference was the preview of Ramon Orlina’s coffee table book launch happening on October 9, 2024, coinciding with the Art Fair Gala Night, with speakers Cid Reyes and Glenn Cuevo.

Prisms & Mosaics: Embracing the Multitudes of Filipino Art

This year’s theme, “Prisms & Mosaics,” reflects the multifaceted nature of contemporary Filipino art. Just as a prism refracts light into a spectrum of colors, ManilART’24 will feature a wide range of artistic expressions and perspectives. Artists from diverse backgrounds will come together to create a collective artistic tapestry, highlighting the unity and strength of the Philippine art community. Through this unity, much like a mosaic, the individual pieces come together to form a larger, more meaningful image.

Satellite Shows around the country and abroad: Broadening the Reach of Filipino Art

Viaje 4: Filipinism, hosted across European cities, including Germany, the Netherlands, Belgium, and France, will showcase Filipino identity through the works of Nino Cris Odosis, Joseph Albao, Ian Maigan, and Windsor Magnaye.

The 20th Annual Sculpture Review at Marco Polo Ortigas will feature a four-meter brass installation by Jik Villanueva, symbolizing diligence and nature’s gift of abundance. Other prominent sculptors will also present large-scale works at this esteemed venue.

Refracted Light will take place from October 6-7 at Ricardo’s Galeria Al Fresco in Amadeo, Cavite, highlighting local talent, while Kutkot Pa More, a solo exhibit by Elmer Nocheseda at Galerie Du Soleil in Taguig, will explore his distinctive kutkot technique as he navigates life with Parkinson’s disease.

ManilART’24 tickets are available at Ticketbooth.ph. For group tours and school group inquiries, please contact manilartsecretariat@gmail.com. For more details and to view the official activities calendar, follow ManilART on Facebook and @manilartfair on Instagram, or visit www.manilartfair.com.

Binatog is a popular street food in the Philippines, usually sold house to house by street vendors in large metal containers either placed on a wooden pushcart or peddled on a bike. To call the attention of everyone in the house or the streets, vendors will shout “Bi-na-toooog” or by “ringing or hitting a metal-bell” attached to their cart or bike as they go around the neighborhood.

How was it made?
Remove the corn kernels from the cob and make sure to keep the kernels whole. One of the fastest way to do this is to simply use a fork and push it between the corn kernels. Do not use a knife when removing the corn kernels so as not to cut over them. The white corn kernels is then soaked in water and salt until puffed. Then boil it until the skin almost peel off and the kernels burst open. The process is a bit tedious so the snack doesn’t come cheap and is usually sold in small portions. But is all worth it as it is both filling and delicious.

But her love and passion for art runs deep in the family with her mother, being the creative one that greatly influenced her at a young age, and her father that served as her number one critic.. made it possible for Chelony to push herself to develop the skills she needed and find her identity in the world of art. “I never stopped learning, and I could say that being at school makes me impatient but learning with someone I admire helped make my art better. I experimented with different materials and styles, and when I am not satisfied with my work, I make sure I create something better onto the next one that comes along. I guess I am my own critic.” cited Chelony Aside from her parents, her cousin Architect Manolito Mercado sparked her interest in a cartoony art style when he gave her a fairytale book; and her late uncle Ramiro Baldorado who taught her to sketch, which she continues to do so up to this time.

Chelony considers herself as a self-taught artist, until she chance upon meeting Mr. Mike Bernardo Manuzon who, entrusted her 19 year old self, with his art brush and let her work with oil paint. It was because of this encounter that Chelony came to love this medium on her artworks and never stopped using them since.

CHELONY’S ARTWORK

Her artwork evolves around realism, hyperrealism and symbolism in the form of portraiture, still-life and landscape.

Vincent Van Gogh, Frida Kahlo, Peter Paul Reubens, Andrew Tischler, Nina Pelirroja , Margarette Keane, Marco Bello, Julius Legaspi & Grandier Gil Bella, are some of the artists that influenced Chelony’s artwork, one way or the other.

“When people look into my art, I want them to see that life is beautiful. I want them to smile when they see my art. To feel hope and joy. I want them to see the beauty of nature or reminisce a beautiful memory.”

Chelony wants to instill a positive energy whenever people look at her works. Giving hope to people that have lost a loved one, to encourage people who are afraid to touch a paint brush, and to simply make everyone happy.

WHAT’S NEXT FOR CHELONY?

She is currently busy creating more artworks to prepare for her upcoming shows. She has also opened up in receiving more commission artworks, and is writing a book for amazon. She has an art biography book that is targeted to be released this year; as she looks forward working with Direk Tony Reyes with her biography documentary and art related films.

UPCOMING ART EXHIBIT
Possible Exhibits in June and October 2022 ( Netherlands / Europe / USA )
Art & Wine Events – in March , April , May & June ( Netherlands / Belgium )

Niewe Veste & Footprint events in Breda
Exhibit of Philippine Embassy In The Hague this year

Affiliated art groups and organizations
OTSAA , LAPIS , BPNFT , NIEUWE VESTE & ONLINE ART GROUPS

AWARDS & RECOGNITIONS
2nd best Artist ( OTSAA – ART Olympics– Quezon City 2004)
2nd over-all best city ( Lipa City on OTSAA- ART Olympics- Queszon City – 2004 )
World’s Longest Painting ( Co-Organizer/ Coordinator in Batangas via OTSAA-2009)
CAWATS ( painting exhibit & competion 2008)

SOLO AND GROUP ART EXHIBITS

• Art & Music ( Tiendesitas – Group Show 2009)
  Sining sa Silong ( Group Show – Greenhills 2009)
  31 Beginnings ( SM Lipa 2009- First Solo )
  I am a Woman – Chelony ( SM City Lipa – Second Solo 2010 )
  Art Market ( group exhibit and art demo- Schoten Belgium 2010)
  Mother & Child Exhibit 1 ( Me and my son MichaelAngelo Fiesta World Mall 2010)
  Mother & Child Exhibit 2 ( Me and my son Michaelangelo – De Wieuw Antwerp Belgium 2010 )
  Mother & Child Exhibit 3 ( Me and my Son Michaelangelo – CultuurProjecten Schoten Antwerp Belgium
  2010)
  Two Arts / Two Worlds ( Group Exhibit – Brugge Belgium – 2013)
  Art & Music ( Group Exhibit – Brugges Belgium 2013 )
  The Coffee Art Project – London ( Art Competition & Group Show 2014)
  BITAW ANNIVERSARY ( solo – Breda , The Netherlands 2014)
  BITAW BREDA ( 2014) Artist Recognition
  Halloween Exhibit at Queen Bee ( Solo – Eindhoven The Netherlands 2014)
  Holland Expat Center ( Art Talk & Exhibit MOTI Breda , The Netherlands-2015)
  Best Use of Props ( 48 hours film – Nijmegen The Netherlands 2015)
• 40 – Life of Chelony (Solo- Breda-The Netherlands 2018 )
• Zomerpareltjes ( Group Exhibit – Breda , The Netherlands 2021 )
  FootPrints Events & Niuwe Veste ( Guest Painting Facilitator- Breda The Netherlands 2021)
  Sip & Paint ( Saro Community Anniversary – Art Facilitator – The Hague , Netherlands 2021)
  Art & Wine with Breda Expat Ladies ( Host – Niewe Veste – Breda The Netherlands 2022 )