A Look Back at Art Fair Philippines

Last February 16 to 19, Art Fair Philippines has once again colored the concrete alleys of the Link parking lot. 

Peppered with paintings and artworks in every corner from the metro’s top galleries, the carpark was a vivid display of what the Philippine art scene had to offer. Bright, bustling, filled to the brim and a little chaotic. 

Among the slew of galleries, Vinyl on Vinyl had a booth at the shoulder of the 6th floor. These were just some of the highlights:

Street artist, Dr. Karayom’s eccentric display was a hard one to miss, with two

massive peculiar creatures set against a screaming yellow backdrop with the words ‘Gusto ko ng tinapay’ bannered across and a piece of loaf nestled in between them. But despite the display’s comedy and quirk, underneath it lay a deeper meaning. Based on a bread from Quezon called Pinagong, which is an anagram for Panginoon, the piece was a social commentary on man’s relationship with God and our tendencies to place ourselves on a pedestal higher than Him. Nanay, tatay, gusto ko ng tinapay. Ate, kuya, gusto ko ng kape… On the other hand, the two creatures, with hands at the ready to play the familiar Filipino nursery rhyme, was a representation of man’s insatiable thirst for more; how bread, how faith, how God, never seems to be quite enough anymore.

At the corner of the booth, bursting through a crack in the ceiling was a pair of legs dangling from the waist down. Plenty ominous, yet strangely alluring, one can’t help but take a closer look. Dennis Bato’s piece was one with a dark narrative behind it. ‘Paglutang’ is a visual depiction of the light-headed feeling of depression, much like a man floating up into a dark and sinister cloud.

Moving on from the dark and the sinister to the comfort of a familiar memory, Pinky Urmaza brought a hint of disheveled nostalgia with her mixed media collages. Inspired by childhood memories and remnants of a life in hindsight, Urmaza burned, tore, and marked her way into breathing new life into objects once lost and discarded.

On the other end of the booth, the faint sound of music finds its way to curious ears. The source: a small television prompted on corner of the floor, showing a video of a record being painted by a man and his record player. The culprit: Gerry Tan. Armed with a bottle of paint, Tan maneuvers the pigments as the record spins on the player. The evidence hung on the wall. Nine records, all distinct from each other, rings of bright colors melting into each layer, showing that music can also be a feast for the eyes.

Renz Bautista on the other hand, surpasses his own demise in his ‘Last Masterpiece’. The 72-piece behemoth was made in the span of three months, with each piece done in a day. Each block display’s Bautista’s trademark: layers of color, texture, pattern and graphic elements melded together with realistic forms to create a chaotic fluidity. 

Speaking of behemoths, nothing gets quite as big as a collaboration between Manuel Ocampo and Jigger Cruz. The two juggernauts come together to create two pieces that are larger than life, pieces that melds together two generations and mixes the best of both styles.

Miguel Borja once again weaves his brushes to create a textured abstracted whiplash of paint and color. Inspired by what he found after mixing a few hues in his mixing palette, what came out were magnetic figures formed in pigment.

It can be said that all good things come in threes, and Reen Barrera’s ‘Oh la la’ pieces are no exception. Three dolls, meticulously handcrafted and carved from wood, rest on a shelf above three paintings, one to accompany each doll. Inspired by his father’s expression at points of either anger or amusement, ‘Oh la la’ is a colorful fantastical world with an imaginary set of genderless beings. 

These were just some of the highlights from what was a successful run at this year’s Art Fair Philippines. The Vinyl on Vinyl booth had everything from surreal sculptures to contemporary abstractions and featured 47 artists in total. A tough act to follow but a worthy undertaking for next year’s AFP.

Until then, see you at the gallery!

Values by Rai Cruz and Gabby Tiongson

The absence of meaning in art is a rare occurrence. A brush stroke is never empty, a shade hardly hollow. Behind the seemingly uncalculated curations is a strong undertow. 

Values are the muses that fuel the human drive and dictate the human creativity. It is the subconscious influence, the North Star that guides the process of an artist and, ultimately, the artist themselves. Art is a direct reflection of the things we hold dear, the things that matter to us, and, at times, the vanishing remnants of values of an era almost forgot, fossils of a value-centric ideal, both simultaneously disappearing and clawing to be remembered at the sprint of the present.

With a divine chaos of color and grit, reminiscent of both pop tart aesthetics and textured memories, Gabby Tiongson and Rai Cruz's "Values" goes back to basics and gets down to what really matters.

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Ugly Truth by Chalk Zaldivar

The facade of politeness for the sake of false harmony is put under scrutiny in Chalk Zaldivar's latest series UGLY TRUTH. He presents a satirical take on the forbidden territories of insult and anger in a non-confrontational society such as ours. Sensitivity to negative comments is a common characteristic for humans. The use of niceties and to walk around eggshells to spare another's feeling has become an expectation, if not a requirement.

Criticizing the lack of straightforwardness and also to vent some of his personal frustrations and irritations, he employs exaggerated imagery. For instance, being fat or having overly active sweat glands turn into points of focus that the artist blows up in infinite proportions with the use of his signature style. To receive the full effect of his premise, he pairs each of the pieces equally witty and audacious titles. Taking the idea from stand-up comedians Louis CK, Bill Burr and Ricky Gervais, he exhibits a refreshingly candid and direct approach in expressing his grievances.

He includes a self-portrait to the series, in admittance of his participation in the ridiculousness of this truthfully egoistical habit. Highlighting his own flaws and insecurities, the artist doesn’t spare himself from being part of his own joke.

Zaldivar remains brave and unapologetic in the crassness and the deliberate lack of depth. In protest of people who are oblivious to their own shallowness, he presents the premise that perhaps it is okay to be so. And that it is good, if not even healthy, to release and admit the tension rather than internalize for the sake of political correctness.
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Talking Dollars Dub Smash by David Griggs

TALKING DOLLARS DUB SMASH mixes iconography from Griggs’ fascination with the Wild West with Horror and with his own irrational thoughts. What we get is an eclectic yet democratic collection of paintings that seems to harness the pure primal element of painting. Griggs, being Australian by birth is talking in Dollars although he really should be talking in Kings. Being a direct ancestor of a British convict convicted of buggery in 1822 and sent to Van Diemen’s Land. Griggs uses what he calls “this irrelevant trivia of my origin” as a way to completely ignore “the current trends of making work about ones identity, I find it very silly” Although the fact of its mention can allow us to think that Griggs is indeed confronting his identity, or lack of his care towards it. Either way TALKING DOLLARS DUB SMASH gives us a glimpse into Griggs’ strange world where dub smashing to Hip Hop, painting cow skulls one day then painting penises the next does make one wonder.

SOS by Renz Bautista

"It’s our failure to become our perceived ideal that ultimately defines us and makes us unique.” 

- Conan O’Brien

Best advice in knowing your own identity is fully exploring yourself, your style. This is Hard.

Unending battle on how to standout not only from other artist but also the struggle in creating the so-called “perfect” artwork is not effortless.

I DON’T LIKE MY ARTWORK.

BECAUSE IT DOESN’T MEET MY STANDARDS,

BECAUSE IT IS NOT ORIGINAL LIKE HOW A PAINTING SHOULD BE,

IT IS ALWAYS A WORK IN PROGRESS.

Masters become masters because they know and accept the fact that there is no such thing as “perfect” art. This made them real and human enough to make priceless pieces.

S.O.S., represents the endless re-planning and revisions of an artist to achieve an ideal piece. Inspired by the late performance artist Bas Jan Ader’s work about a piece of paper that almost tears off due to the continuous draw-erase repetition, all result of the unsatisfied feeling towards his (Bas Jan) work. This collection magnifies struggles of a young artist in discovering his own piece of “perfection”. Today, severely obsessive self is born.

I Wonder How You Are by Kelli Maeshiro

Traveling across multiple metropolitan cities, Kelli Maeshiro has met a variety of people, many who became friends. But as Kelli was constantly on the move, time and distance widened the proximity to the people she knew. She missed her relationships with the friends and acquaintances she used to see. The concept for I wonder how you are comes from the artist’s recollections of the people she has met along her travels but will never see again. In everyday moments away from home, Kelli found herself writing imaginary letters to the memories she had of people she once knew. She began each letter by asking “I wonder how you are?” to the memories she had of a specific individual. In those letters, Kelli discovered the most honest side of herself. The letters became a space of reflection where she could reminisce about the mistakes, regrets, and uncertainties in her relationships with people—past, present, and future.

The paintings in I wonder how you are capture the artist’s memories of the people to whom she writes. The layers of hazy color washes and hard outlines depict strong snapshots of quickly passing moments combined with her memories, grown misty with time. In this series, Kelli composed each letter and painting simultaneously, choosing images for the painting at the same time that she penned the letter. She added or subtracted elements to and from each painting by filtering it through her memories, aesthetics, and senses. Each painting in the series corresponds to unique objects or characteristics associated with the memories of that person, and the back of each painting contains Kelli’s unsent letter.

The basis of Kelli’s work relies on the reflection of personal experiences and relationships. She regrets missed opportunities to get to know someone, and as she grows older, has recognized the value of those missed opportunities. She thinks of her own work as sentimental. She believes that people are sentimental about the things or time they miss—these sentimental self-reflections are what her paintings address. The paintings in this series can be read as soft and hazy, like distant memories. We recreate memories as we remember them in the present, and may think of them differently in the future. In our memories, we forget parts of what really happened, and stories become fragmented and then pieced back together with truth and a small dose of fiction. Kelli’s letters in this series are the same as these kinds of memories. They are parts and pieces of a person, infused with her thoughts and reflection, filtered from her perspective. In this way, her work offers an honestly raw and refreshing perspective on our relationship to memory.

Kara Hisatake, PhD, UC Santa Cruz Literature Department

Biography:

Kelli Maeshiro is a Japanese-American born in Japan and raised in Hawai‘i. She worked in Tokyo, Boston, Portland, and currently resides in Manila and Honolulu. She earned her BA in studio art at Willamette University. I wonder how you are is her first solo show in Manila. She has previously worked as an in-house marketing/magazine designer/photographer, and the combination of magazine, design, and photography experience has influenced her current work.

Cryptoentomology by Tano Panaligan

A legend of an epidemic when people discover an ancient book about insects. Little did they know the book was of ability of insects in destroying humans. And in all faiths of mankind, people experimented till all was lost by their own hands. 

Heed the whirring noise of the distant swarm, an epidemic is signaling its return. 

The city has been drowned in the sound of a million buzzing wings singing a brooding, discordant hymn as hexapods march their way out of dilapidated buildings to lurk into every disquiet avenue. All the districts, streets and parks that once radiated life are now shrouded in an eerie sense of decay. Everything has fallen into disrepair. 

Disoriented ants creep out of fractured asphalt roads, almost mimicking blood oozing out of the crevices. Blank-eyed Cicadas blurt out their cacophonous songs as they witness the self-disemboweling dance of a thousand mutant bees buzzing around a fluctuating lamppost. The swarm is back; they are never leaving.

Don't Mind Me... I'm Just Trippin' by Regen Mulingtapang

When the mind dives into a whole different world in which then comes intuitive perception and responsiveness to the environment, it is often marked by a full recollection of visions from colorful to playful characters. It is a dream-like state. Everything is trippy.

People have different hallucinations, some never forget their experience. Dreams can be an annoyance and a mystery to some. A higher level of conscious awareness, when taken advantage of, makes more sense when you enjoy the pleasures of your dream. Everything is trippy.

Don't find the middle ground. Don't try to understand. Stay high and have the most awesome adventures in your wakefulness. Lucid and vivid dreams that are magical and blissful. Everything is trippy.

If sleep is fascinating, to dream is even more so. But being awake is extremely benevolent and joyous as represented in fantasia. Everything is trippy.

Delusions come with profounding light. Time to propagate the experiences, the visions, the magical scenes then sleep long and deep. Don't mind me...I'm just trippin'. Everything is trippy.

Laro-Laruan by Whooop

A toy is a right of passage. No man goes through life without the rapture of a toy. Such has formed countless of childhoods. Vinyl toys, stuffed toys, dolls and robots, plastic cars and kitchen sets: symbols of the carefree and the imagined. Often equated with bliss, toys are an escape from the dreary shades of the mundane.

But beyond the reveries of childhood innocence is a parallelism with the tainted realities of modern day, an age where decay and corruption is all but void, and a time where the lives of many are played with.

Whoop’s Laro-laruan is a reflection of the irony in child’s play: that like children, the freedom we feel in play always comes with a duality: that beyond our playpen is a constricted freedom, a world where we both serve as the player and the played. Through the totems of our childhood, Whoop reminds us that toys aren’t always about fun and games.

An Other by Martin Honasan

”Why do we have a brain in the first place? Not to write books, articles, or plays; not to do science or play music. Brains develop because they are an expedient way of managing life in a body.”

- Antonio Damasio, Portuguese neurobiologist 

The human face is the organic seat of beauty. In it is expressed, in larger measure than in any other parts of the organization, the individuality to which the life has attained. It is the brilliant focus where the rays from within are centered, where those from without are reflected. It is the register of value in development, a record of Experience, whose legitimate office is to perfect the life, a legible language to those who will study it, of the majestic mistress, the Soul.

- “Woman and her Era”, Volume 1, 

Eliza Wood Farnham, American Novelist, Activist

In the study of psychology, a Gestalt is defined as something unified in a way in which the elements cannot be broken down into its parts and the total piece cannot just be thought of as a sum of all its parts. The idea that “the whole is greater than the sum of its parts” has been known since the time of Aristotle. In Gestaltism the phrase has been adapted and translated: "The whole is other than the sum of its parts," which suggests that the totality is a completely separate entity than its individual components. Thus, my work examines the concept of the self, identity or consciousness, and poses the question: What does it mean to be more than a container for a system of mechanical exchanges and electrical impulses? 

The physical language of painting—the gestures of brushstrokes, the manipulation of surfaces, the selection of hues—comprises a vital part of my work. All movement is anchored by figurative imagery, where facial details are grafted with textured forms, as if the face is a continuation or natural development of the patterns. Much of the process enables me to work across a broad range of improvisational and measured approaches, allowing me to explore both emotional and technical aspects of art making.

Every aesthetic decision in painting, as with all creative activities, is a physical culmination of experiences that germinate in the mind. There are no insignificant strokes, as each one is a result of subjective activity processed from a barrage of input from the physical world. Our minds contain layers of thoughts that elicit joy and fear, and shadows where the misunderstood parts of our psyche are locked away. These systems of the mind are tangibly expressed both deliberately and reflexively in my work.

My work is composed of two layers superimposed against each other, with two separate creative processes, executed from two different approaches, yet one process informs the direction and leads to the completion of the other. The paintings in this series are meditations on consciousness and identity as Gestalts, to explore the rigid dichotomy between self as a purely physical substance versus the human being as an immaterial spiritual owner of consciousness.

Power Overwhelming by Ramona Gaston

Ramona Dela Cruz-Gaston's painted mandalas are kaleidoscope-like tessellations that swirl with radiant colors. In her first solo exhibition, the artist meditates on the drama of womanhood and the journey from maiden to mother.

She navigates the technical difficulties of the mandala, a form of sacred art, and organizes her personal iconography into hypnotizing geometric designs. Her meticulous canvases swim with symbols, bounded always by the strict symmetry she imposes on herself. The mandala is her way of taking control and making sense out of chaos.

Influenced by Art Nouveau, an architectural movement inspired by organic forms and curved lines, Dela Cruz-Gastonís signature is unapologetically feminine and emotional. Also leaving indelible marks on her practice are Frida Kahlo, a bold and fiery personality known for her self-portraits, and Patrick Woodroffe, beloved by science-fiction readers for his dreamlike book cover paintings. Combined, these forces have contributed to the vivid rendering of Dela Cruz-Gastonís surreal canvases.

Threshold by JR Urao

All of existence is made up of a succession of beginnings. Universes have been formed, created and destroyed under the mere breath of beginning. It is a concept that has also shaped and created a people that is ever evolving.

Our lives are made up of beginnings. Every second is a genesis and every ending is but a beginning in disguise. Though often glorified for what it can concieve, beginnings weave around every moment, both great and mundane; from the emergence of generations, to making a choice of walking to work.

Threshold chronicles and reveres the unspoken beginnings; the everyday and otherwise easily overlooked quirks that comprise the seemingly ordinary. JR Urao explores the silent inceptions that make up life itself.

Cloud Child by Iyan De Jesus

Self-taught artist Iyan De Jesus, softens the metallic edge of steampunk with pliant alabaster skin. Each painting is a pastel-hued post-apocalyptic techno-fantasy suffused in color.

Holding court against a background of mechanical complications are nymph-like cyborgs—more human than robot—whose dignified expressions hide stories rooted in mythology, literature, snatches of song, and fleeting moments between lucidity and sleep. To help viewers divine a work’s narrative, De Jesus camouflages elements among a multitude of gears: owls, hearts, snowflakes, gas lamps, and totem poles all serve as subtle bearers of meaning.

The attention to minutiae, obsession with geometric compositions and patterns, cleanliness of lines, and smoothness of surface hark back to De Jesus’s background in architecture and computer-aided design. Unlike formally trained artists who went from canvas to screen, De Jesus started “painting” with a mouse before she shifted to brushes and glazes. The jump from digital to traditional was a rebellion against the ephemeral nature of bits and bytes, as well as a surrender to the soul’s desire to create something lasting.

Each painting demands more than a cursory glance. Those who linger and look will be rewarded by the unexpected lyricism disguised by steampunk’s retro-futuristic tendencies. In between pulleys and wheels lie images that summon the sound of the sea, the slow and steady beat of the human heart.

On Off Group Show

Janet Balbarona

Demi Padua 

Mark Arcamo

Janelle Tang 

Angge Lorente

Edric Go

Jessie Mondares

Mervin Pimentel 

Bjorn Calleja

Rolf Campos 

RA Tijing

Joel Quinones

Darrel Ballesteros

Nemo

Chill

Dave Lock

Renz Bautista

Nile Pobadora

Galaxie Maria

This Is The Last Song, No I Changed My Mind by Arvin Flores and Mai Saporsantos

“This Is The Last Song, No I Changed My Mind” mixes abstract painting with pop music in exploring the jangled lines refraining in the pleasure of uncertain beauty expressed in the indescribable lyric which justifies the tune of the moment. This two-person exhibit by Arvin Flores and Mai Saporsantos features paintings and mixed media works incorporating texts taken from various songs combined with gestural abstraction and figuration that turn into narratives about individuality and style.

Arvin Flores has an MFA graduate degree from The School of the Arts, Columbia University, New York NY, and a BFA from the College of Creative Studies, University of California at Santa Barbara. His work combines elements from abstraction, figuration, and writing situated within symbolic narratives that relate to popular culture, social politics and history, as well as art and its concepts. 

Mai Saporsantos is a multi-disciplinary artist whose main interest lies in the various ways of manipulating and handling material that are formed from the well of her thoughts and ideas. Her current practice mainly involves the use of texts, or the translation of letters into image as non-words, which become receptacles of thought/non-thought as an abstracted narration of life experience. She received her BA in Art Studies from the University of the Philippines, Diliman, and has studied Combined Media Painting and Art in Three Dimensions at the Art Students League, NY.

Psychonaut by Miguel Paulo Borja

Humanity, in comparison to the rest of the universe, is a relatively new concept. But despite their short tenure they have become witnesses to exponential leaps in evolution and consciousness, and arguably, are the catalysts to an age of awareness and technological singularity. 

One of the best manifestations of this technological advancement is space travel. Always drawn towards the unknown, man’s insatiable curiosity has taken them beyond the bounds of earth and into the uncertainty of space. They’ve hurtled themselves countless of times into the abyss in the hopes of a deeper understanding of something greater. 

Many ancient belief systems have revolved around the worship of the cosmos, and it's not difficult to wonder why. The vast and panoramic expanse of the night sky spurns irony as much as it does curiosity. It can be both a spiritual experience as well as a reflection of man’s fear of it and the need to fathom it: a merging of science and spirituality; a movement outwards as much as it is inwards.

As man ventures out to discover if there is life beyond earth, a small part of humanity’s transdimensional loneliness is alleviated. The reason for man’s insatiable curiosity is simple then - it is the basic and universal need for a genuine human connection. 

There is a certain sense of longing that can be felt from the figures in Miguel Paulo Borja's paintings - a sort of bittersweet irony that is a reflection of the human condition; a certain beauty in their tragedy. He paints* scavengers, wanderers and transients, in search of purpose to their being, navigating through a world that looks familiar but feels entirely alien.

Psychonaut is Borja's realization that man is meant to plunge themselves into the depths of darkness, embracing moments of uncertainty and fear. As curiosity dictates, it is after all, man’s nature.

Inevitably Imperfect 2 Group Show

Based on the success of their inaugural exhibition in Bangkok in June 2013 The "Inevitably Imperfect" artist collective is coming together once again.

This July, experience a group exhibition of international scope organized by artists Dexter Sy and Dan Barry, as Vinyl on Vinyl Gallery presents Inevitably Imperfect 2. This exhibition showcases 8 artists and their personal interpretations of the purposely ambiguous theme Inevitably Imperfect - while simultaneously exploring layers of connections that exist within the New Contemporary Art Movement worldwide. Open to the public, the Inevitably Imperfect 2 opening reception starts 6pm on Wednesday, July 29th. Each artist will present multiple artworks that will be installed on two floors of Vinyl on Vinyl Gallery. The exhibition will run until August 15th, 2015.

“While brainstorming with Dexter, the artists that we would like to exhibit with in Inevitably Imperfect – We immediately made a list of artists whose work contained unique personal visions. Often, the works are emotionally charged, soulful and ambiguous in narrative, but full of enough signifiers of meaning for each of us to derive our own meanings from the work. ~ Dan Barry “

The final list of participating artists is diverse – in artistic process, in media, in content, and in personal background. Many of us have known of one another via social media, some of us have exhibited together in the United States and Europe, but this is the 2nd time that we will all show together as a collective – and our 2nd time exhibiting together in Asia. We were excited to see how this unique group of artists would interpret the theme Inevitably Imperfect.

Artists Featured: Dan Barry (USA), Jana Brike (Latvia), Edward Robin Coronel (USA), Jittagarn Kaewtinkoy (Thailand), Niwat Promma / Kai Chickenart (Thailand), Dexter Sy (Philippines), Lynyrd Paras (Philippines), Akira Miyamoto (Japan) 

Involutions by Jel Suarez

There’s something about Jel Suarez’s work that elevates it from mere appropriation into something else entirely. They are fitting depictions of Suarez’s imagination, experiences, and her thoughts. With “Involutions”, Suarez’s first solo exhibition, she has prepared her most ambitious set of works yet. After all, “involution” by definition could refer to intricacy and complexity. 

Every piece found in this collection is mesmerizing in their complexity, not only visually but also in their message. The surreal imagery is not only the product of the repurposing of the source material, but also of deconstructing and reconstructing them. It’s a classic example of making something new out of seemingly disconnected images, but in her pieces, there is an evident sense of mystery and wonder that goes with it, producing surrealist art at its most effective. The seemingly repetitive images almost form a dream-like tableau, a skewed depiction of a world both familiar but also jarringly different. 

With “Involutions”, Jel Suarez has given us a glimpse into her world: a world where classic art is turned on its head and the grotesque, the surreal, and the absurd are commonplace. There is a narrative that exists in all of her works, and “Involutions” is but the latest chapter in this narrative. It is also a waypoint in her artistic journey, showcasing her growth as an artist.

Appropriating and deconstructing image as a form of art may have been done before, but not with the same level of care and thought that Suarez puts into her work. 

While this is her first solo exhibition, there’s a confidence to Suarez’s work that should put people on notice. For Jel Suarez, art is a means for her to release all her frustrations and anxieties. And to that end, “Involutions” is akin to an exorcism in collage form. 

Double Feature Group Show

It's tacky, nauseating, yet such a shameful delight to watch. Insane,

bizarre, yet feeds our curiosity with brightness and comforting

horror. These oddball cult favorites contact the senses and

fascination of young artists Tyang, Quatro, Bins Palma, Wani and

Paksiw.

These vivid eyed five take on their cultographies and represent

significant film features to similarly double such harmony and

perception that it has. Goonies, Mars Attacks, Perfume, The Virgin

Suicides, Ghost World. These cult classic choices depict its memorable

film occurences for its weight.

As visual composers this is similar to their crafting that every

apparent minor detail is relevantly stitched together with great care

to create the fabric of their work. The reality that it imposes is

underappreciated that sometimes defects and failures bear instead of

triumphs. We ignore the great opportunity when we lose compassion and

discipline. There is not a bunch of shifts to take. In the end we all

have to write our ending.

You Are Here by Everywhere We Shoot

Curated by Everywhere We Shoot

Ara Asuncion / Acid House Post / Adam David / Aeon Barrameda / Aj Dimarucot / Amelie Vivas / Angelo Estrella / Anton Belardo / Apol Sta Maria / Archie Geotina / Bahagski (JP) / Bjorn Calleja / Brent Sabas / Broke / Carina Santos / Cenon Norial III / Charles Buenconsejo / Costantino Zicarelli / Crajes (Spain) / Dan Matutina / Dex Fernandez / Don Djerassi Dalmacio / Edrick Bruel / Electrolychee / Erick Encinares / Ernest Concepcion / Erwin Romulo / Ge Madriaga Mapa / Gerardo Tan / Geric Cruz / Harriet Tromeur (Paris) / Heima / Imagine Nation Studios / Inksurge / Isabel Santos / Jake Verzosa / Jayson Oliveria / Jeffrey Jay Arnan Jarin / Jel Suarez / Jigger Cruz / Joey Samson / Johanna Helmuth / JP Cuison / Jujiin Samonte / Jun Sabayton / Juvi Mae Ang / Karen Pimentel / Kris Abrigo / Leeroy New / Lena Cobangbang / Lendl Arvin / Lobregat Balaguer / Luis Antonio Santos / Lynyrd Paras / Maco Custodio / Mads Adrias / Mariano Ching / Marie Gan / Mark Salvatus / May Ann Licudine / Melvin Mojica / Micaela Benedicto / MM Yu / Neasden Control Centre (UK) / Nathalie Dagmang / Neil Pasilan / Nelle Vizmonte / Ness Sheen / Nicole Tee / Nimu Muallam / Oca Villamiel / Paolo Lim (AU) / Paulo Castro / Pow Martinez / Raffy Napay / Rabbithole Creatives / Ralph Mendoza / Ramon Vizmonte / Reese Lansangan / Rin Estrella / Rob Cham / Robert Alejandro / Romeo Lee / Ryan Villamael / Sanya Smith / Sharon See / Soleil Ignacio / Soler Santos / Sunshine Reyes / Tammy David / Tanya Villanueva / Team Manila / Teo Esguerra / The Greenhouse Project / Tinay Villamiel / Tokwa Peñaflorida / Tyang Karyel / Vernon Perez / Victoria Velasco / Yasmin Sison / Yeo Kaa / Yusaku Kawamura (JP) / Yvette Tan / Zean Cabangis / Zeus Bascon