Eunice Sanchez (b. 1993) engages with themes related to preservation and perception through photography and alternative processes. She recontextualizes the materiality of her medium to demonstrate the demand for history to be re-examined. Sanchez is the Silver Recipient in the book (self-published/documentary) category at the International Photography Awards Philippines (2017) and was a resident at ‘Visualising Histories,’ a collaborative project between Museum Collective (Philippines), Load Na Dito (Philippines) and Sa Sa Art Projects (Cambodia), supported by the Asian Cultural Council (2021). Last year, she completed the ASEAN Artists Residency Programme at Sharjah Art Foundation in the United Arab Emirates.

Goldie Poblador (b.1987) uses glass blowing, performance, video, installation, and scent when considering themes of feminism, the environment, and decolonization as it relates to the body. She received her BFA in Studio Arts from the University of the Philippines Diliman, and her MFA in Glass from the Rhode Island School of Design (RISD). Her work has been exhibited at the Singapore Art Museum, Bangkok Art and Culture Center, Museum Atelierhaus Mengerzeile, Lopez Memorial Museum and Library, Metropolitan Museum of Manila, The National Museum of the Philippines, and The Cultural Center of the Philippines. She completed residencies at the Corning Museum of Glass, Oakspring Garden Foundation, Wassaic Project, The Hambidge Center, MASS MoCA, La Fragua and the Cité International des Arts. Poblador was selected for the Immigrant Artist Mentorship Program awarded by the New York Foundation of the Arts and received a President’s Scholarship from RISD as well as the Philippine Artist Residency Program (PARP) organized by the Alliance Française de Manille. In 2024, Poblador was featured in the ‘Serial and Massively Parallel’ exhibition for the 6th edition of S.E.A. Focus in Singapore and in the same year, her work ‘Squalor’ entered the permanent collection of the Corning Museum of Glass.

Issay Rodriguez (b. 1991) received her BFA from the University of the Philippines, Diliman. She was a Jose Moreno Foundation scholar and received a bursary to attend the École Nationale Supérieure des Beaux-Arts in Paris. Rodriguez’s art practice revolves around projects that deal with themes of humanism and ecology. Her research and community engagements in artist residency programs and interdisciplinary collaborations allow her to work through themes that set inquiries on thoughts, emotions, and values that can be explained or expressed through art and technology. Rodriguez uses drawings, cyanotypes, and other formats, such as virtual and augmented realities, to materialize her long-term research on bee life and explore botanical archives. Her works were presented at the 57th Venice Biennale in 2017. Selected artist residencies include Bellas Artes Projects (Bataan, PH), Gasworks (London, UK), and at the Centre Intermondes (La Rochelle, FR). Rodriguez actively participates in programs organized by the Philippine Botanical Art Society and the Philippine Native Plants Conservation Society Inc.

Kelli Maeshiro’s (b. 1989) works are characterized as delicate and introspective, creating an inviting atmosphere that portrays themes of longing and ennui. She merges traditional and contemporary art-making techniques in forming images that examine how identity is constructed through migration and memory drawn from her experience as a Japan- born adoptee of an Okinawan-American family. Maeshiro received her BA in Studio Art (Painting) from the Willamette University in Salem, Oregon, and completed artist residencies at the Vermont Studio Center (USA) and the Women’s Studio Workshop (USA). In 2018, she received the George and Nobuko Azumano Award. Her works were featured in exhibitions at the National Museum of the Philippines, Hallie Ford Museum of Art, and the Honolulu Museum of Art. She lives and works in the cities of Manila and Honolulu.

Luh’De Gita (b.1997)’s work explores the intersection of personalinterests and collective issues, from her fascination with The Sims to the effects of overtourism in Bali.These themes appear throughout her paintings, where she moves beyond initial sketches through spontaneous interventions, allowing her work to evolve organically. This process reflects her shift from a constrained approach to a more dynamic conversation with her art.

For Luh’De, The Sims symbolizes a desire for control, post-realism, and an escape from reality. Her growing interest in the gentrification and “aesthetic gaze” imposed by tourism in Bali highlights how colonial legacies have shaped the preservation of Balinese culture. Her paintings capture the tension between idealized realities and the consequences of human intervention, illustrating how Bali has become commodified in a post- realistic tourist economy, where traditional customs are curated for global consumption.

Sinta Tantra (b.1979) studied at the Slade School of Fine Art, University College London in 1999–2003 and at the Royal Academy Schools London in 2004–06. Highly regarded for her site-specific murals and installation inthe public realm, most of her work envisions the concept of drawing and colour. Her commissions include; Lee Tung Avenue, Hong Kong (2018); Facebook London (2018); Folkestone Triennial (2017) Newnham College, Cambridge University (2016); Songdo South Korea (2015); Royal British Society of Sculptors (2013); Liverpool Biennial (2012); Southbank Centre (2007). Tantra’s most notable public work includes a 300-metre long painted bridge commissioned for the 2012 Olympics, Canary Wharf, London.

Known for her fascination with colour and composition, Sinta Tantra’s work is an experimention scale and dimension, a hybridity of pop and formalism, an exploration of identity and aesthetics. Her decade of work in the public realm produced distinct colour abstractions which wrapped around the built environment, enlivening and transforming them in the process. Her work now ranges from small painted canvases to huge architectural installations, from bold, tropical colour to a calder-like minimalism. It occupies a space at the intersection between painting and architecture, striking a fine balance between the two-dimensional and three-dimensional, decorative and functional, public and private. Themes within Tantra’s practice include the slippage between pictorial and physical space, of turning something ‘inside out’, and how we, as bodies become submerged in surface and structure.