20th Century - Present

Local and International

Visual Artists' Profile

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 During the 20th century, the visual arts were a part of the three categories, including
auditory arts and performance arts, that were split up from fine arts. From the word itself, visual
arts stimulate viewers through visual experience. It includes mediums such as drawing, painting,
sculpture, architecture, photography, film, and printmaking.

An artist makes art out of anything or from nothing. Of course not all artists will become
enormously successful and famous such as Picasso or Da Vinci. In this largely male-dominated
art-world, here are some of the greatest female visual artists of the 20th century:

Sonia Delaunay (1885 –1979)

Sonia Delaunay in her studio in Paris

© Germaine Krull, Passage du Ponceau, 1928

Sonia Delaunay was a multi-disciplined French artist who founded the art movement,
Orphism, with her husband Robert Delaunay. Established in 1912, Orphism was a natural,
tangential development from Cubism and Fauvism. It is centered on abstraction, geometric
shapes and vivid colors. She was the first living, female artist to be honored with a retrospective
exhibition at the Louvre in Paris in 1964. Below are some of her most important artworks.

Nu jaune (Yellow Nude) (1908); Le Bal Bullier (Bal Bullier) (1913); Simultaneous dress (1913)
 It is evident in her works that Delaunay was equally skilled in painting, set design and
textile design. The rich and jewel-toned colors in her oil paint on canvas Nu jaune (Yellow Nude),
though unrealistic, sets a standard for the rest of her career. The second painting is an excellent
example of Orphism. It is seen in Le Bal Bullier (Bal Bullier) the expressive combination of
color and form. This painting was the largest of four versions with a size of Twelve feet long and
the first work exploring contrasting colors on a large scale. Meanwhile, Simultaneous dress is
created by sewing together oddly shaped pieces of fabric in non-uniform size and color. The
color scheme, similar to one she developed in her paintings, manages to encapsulate a full range
of colors. It is said that she created this design to enhance the visual effect of the dancers at the
Bal Bullier.

As Delaunay quoted, "Abstract art is only important if it is the endless rhythm where the
very ancient and the distant future meet." She used Orphism to emphasize the intensity of the
expression that she could create with the colors she used on canvas. The scientific effect on the
eye of the primary color beside the secondary color, resulted in art that could be just as glittering
to the viewer. She put effort in each artwork that produced a body of work that gets the viewer to
experience the art not just visually but powerfully.

Frida Kahlo (1907 -1954)

Frida Kahlo black and white headshot

© Katie Townes; respectability.org

Many of the key features in Kahlo’s painting relate to her personal physical condition.
She had polio as a child and a bus accident as a teenager in 1925. It damaged her spine, ribs,
pelvis, right leg and abdomen and as a result, she was almost paralyzed and prevented from full
term pregnancy. During her recovery she wore a steel corset which led to a preoccupation with
self-portraits. Kahlo learned to paint and many of which reflects her obsession with her physical
and mental problems. Here are some examples of her art that portrays her disability;
Broken Column (1944); The Little Deer (1946); Tree of Hope, Keep Firm (1946)

It clearly shows her pain from her paintings. In Broken Column, her body is opened in the
middle showing her medical corsets and there are nails pricking her body all over. Same with
The Little Deer, which is thought to be inspired by her pet deer, Granizo. It depicts Kahlo in a
deer's face in a deer's body, suffering with the arrows but showing little sign of pain. In the Tree
of Hope, Keep Firm, she paints two versions of herself. one on the left with the sun shows her
back with a slice down to her hips, while in the right with the moon shows Frida in a red gown
holding her confining medical corsets.

As Kahlo said, "I never paint dreams or nightmares. I paint my own reality." She came
face-to-face with her disabilities and turned them into art. Many of her paintings depicts her
disabilities but she never let her disability prevent her from pursuing her passion.

Dame Barbara Hepworth (1903 – 1975)

14 October 1965 © National Portrait Gallery, London

 Barbara Hepworth’s sculpture typifies what we now regard as Modernism. Hepworth
founded the Unit One movement in 1933 which aimed to unite Abstraction and Surrealism in a
unique form of British art. One of the few female artists to achieve global recognition in the
mid-20th century during her life time, Hepworth was a leading figure in the artists’ colony which
settled in St Ives, Cornwall during the Second World War. She was also a major international
figure, showing her work in exhibitions around the globe. As a woman in a largely
male-dominated art-world, Hepworth took an active role in the way in presenting her work.

Hepworth’s art was primarily about relationships: not merely between two forms
presented side-by-side, but between the human figure and the landscape, color and texture, and
most importantly between people at an individual and social level.

Group I (Concourse) 1951; Mother and Child (1934); The Family of Man (1970)

Hepworth said that Group I (Concourse) 1951 was inspired by the interaction of people
and architecture in the Piazza San Marco in Venice. The medium used is Serravazza marble and
associated it with the Mediterranean sun. Meanwhile, in Mother and Child (1934), the medium
used was Cumberland alabaster on marble base. It seems like any ordinary small abstract stone
but looking closely, you will see that the larger shape that makes up the figure represents a
reclining figure of a mother while the small figure is a child held in her embrace. The Family of
Man (1970) is a beautiful representation of figures in the landscape and is one of the last major
works Hepworth completed before her death. The medium used is bronze and consists of 9
separate pieces – individuals starting with a young girl and finishing with ancestors and an
"Ultimate form". They are abstract, but clearly represent people, becoming more sophisticated as
they mature. Her sculpture is re-sited further along the Hillside, away from the now mature
trees, in order to give an unobstructed view of the work and to protect the tree roots, which have
grown significantly in the 36 years since the sculptures were first installed.

As Hepworth said, "I think every person looking at a sculpture should use his own body. You
can’t look at a sculpture if you are going to stand stiff as a ram rod and stare at it, with as
sculpture you must walk around it, bend toward it, touch it and walk away from it." She chose
not to create literal representations of the world but developed abstract forms inspired by people
and landscapes.

Kathe Kollwitz (1867 – 1945)

Biography of Käthe Kollwitz © widewalls.ch

Kathe Kollwitz is recognized as one of the most important German artists of the 20th
century, one who created timeless art works against a backdrop of personal sorrow and hardship.
She was a German painter, print maker and sculptor, Kathe Kollwitz’ work focused on the
human condition, in particular the plight of the less fortunate; victims of poverty, hunger and
ultimately, war. Her initial work was conceived in a Naturalistic style through the media of
drawing, etching, lithography and the woodcut but her output gradually became more graphic
and Expressionistic to more accurately reflect her subject matter.

Misery (Not) (1897); Outbreak (Losbruch) (1903); Unemployment (Arbeitslosigkeit) (1909)

 Hopelessness and grief drive Misery's narrative. The father's eyes are downcast, but the
sibling looks directly at the loom, signifying the cause of the family's misery. She perfected it
with a combination of dry point, aqua tint, tusche wash, and soft ground processes. In Outbreak,
naturalism is subverted to the emotional cadence of print, with frenetic lines and low, elongated,
diagonally oriented bodies underscoring the rush, energy, and collective drive of the peasants in
their uprising. Meanwhile in Unemployment, the distance between sleep and death in poverty is
visible. Kollwitz rendered the woman and her children bathed in an angelic light, their forms
ill-defined but seemingly physically interconnected. The artist also calls attention to the mother's
hands cradling her child's head to illustrate the promise of eternal maternal protection.

"My real motive for choosing my subjects almost exclusively from the life of the workers was
that only such subjects gave me in a simple and unqualified way what I felt to be beautiful..."
-Käthe Kollwitz

Leonora Carrington (1917 – 2011)

6 April 1917, Lancashire, England.

© acentoon.com

Born in Lancashire, England to a wealth family, Leonora Carrington was a rebellious

child who reacted against her privileged upbringing to pursue a career in art; until her death in
2011 she was the last remaining survivor of the original Surrealist group from the 1930’s. At the
time, woman and their artworks were not often readily accepted. throughout her lifetime, she
fought hard to prove her worth as an individual artist, and helped proved that women's work
should be valued the same as men's.

The first important exhibition of her work appeared in 1947, at the Pierre Matisse Gallery
in New York City. Carrington was invited to show her work in an international exhibition of
Surrealism, where she was the only female English professional painter. In 2013, Carrington was
the subject of a major retrospective at the Irish Museum of Modern Art, Dublin. In 2015,
Carrington was honored through a Google Doodle commemorating her 98th birthday. The
Doodle was based on her painting, How Doth the Little Crocodile, drawn in surrealist style as
she was a last surviving link to the Surrealist movement that first developed in Europe in
between the wars. One of her latest exhibitions were the opening of The Museum Leonora
Carrington. This was held in Xilitla San Luis, Potosi, México last October 19, 2018.

How Doth the Little Crocodile; The Inn of the Dawn Horse (Self Portrait); Who art Thou, White Face?

Carrington’s painting demonstrates an amalgamation of Celtic legend, fairy tales,

Western and Eastern alchemy, Egyptian symbolism, Cabbalistic lore, and astrology, mixed in
with a liberal amount of the Spanish Catholic and Native American traditions of her adopted
country, Mexico.

Her well-known Self-Portrait: The Inn of the Dawn Horse (1937–38), reveal a lifelong
love of animals as they continued to show in her works. I personally admire her works as every
painting speaks for a hidden meaning behind her emotions like the expression on her face. It
seems as if she is not here, but away in another dream, the horse outside symbolizes wanting
freedom. Meanwhile, Who art Thou, White Face? (1959) shows her creativity that flows through
her personal information, documenting her moments through painting in her own universe

As Carrington said, "I painted for myself. I never believed anyone would exhibit or buy
my work." She used autobiographical detail and symbolism as the subjects of her paintings. She
focused on magical realism, alchemy and Mexico's rich mythology helped to provide inspiration
for her works.
 Georgia O’Keefe (1887 – 1986)

© The Phillips Collection

Regarded by many as the mother of American Modernism, O’Keefe first attracted the
attention of the American art community in 1916 with her large format, close ups of enlarged
flowers and blossoms and New York architecture. By 1929, she became another of the many
artists who migrated to New Mexico – possibly as a result of The Great Depression which
devastated the cities – and is known for her depictions of subject matter specific to the area.

Radiator Building — Night New York; Cow's Skull: Red, White and Blue; Black Iris

Radiator Building — Night New York is the most famous work of the series of landscapes
of New York that Georgia painted between 1925 and 1930. It depicts the American Radiator
Building in midtown Manhattan. It captures the skyscraper at night with its illuminated windows.
It is also noted for beautifully depicting the artificial light of the city. O’Keeffe depicts a cow
skull at the center of the Cow's Skull: Red, White and Blue, with the three colors of the American
flag behind it. The picture has since become a quintessential icon of the American West.
Meanwhile, Black Iris is the most famous depiction of the flower by O’Keeffe.

Georgia O’Keeffe is known for her revolutionary paintings and for being the leading
figure of the art movement. The most remarkable about her is her audacity and uniqueness of her
early work.

Lyubov Popova (1889 – 1924)

Biography of Russian Painter

Lyubov Popova was an avant-garde Russian artist who was active during the early 20th
century, a painter and designer whose style encompassed Constructivism, Cubo-Futurism and
Suprematism. Early in her career she associated with some of the leading figures in the emerging
Russian art movement; in 1912 she worked in the Moscow studio known as “The Tower” with
Ivan Aksenov and Vladimir Tatlin.

In 1914 she travelled in France and Italy where was present during the development of
Cubism and Futurism. During 1915 Popova developed her version of a non-objective art form
which was based on the principles of icon painting and by 1916, she was calling these
compositions, “Painterly Architectonics”.

Composition with Figures (1913); Painterly Architectonic (1916); Untitled, from Six Prints (c. 1917 - 1919)

Popova's early works can be seen as a conjunction of Cubism and Futurism; movements
and ideas she collected on her travels. Composition with Figures (1913) was painted shortly after
Popova returned from studying in Paris under Henri Le Fauconnier and Jean Metzinger at the
Académie de la Palette. The fragmentation, and multiplication of objects and figures
conceptualizes futurism with a dynamic expression of movement, energy, and technology with
strong colors and lines. The Painterly Architectonic (1916) demonstrates how geometry and
abstraction were becoming more significant in her work. In this painting, she again combines
influences to create an original and striking composition, here of vibrant objects crowding and
pushing against the picture plane. Meanwhile in Untitled, from Six Prints (c. 1917 - 1919)
illustrates physical and spatial dynamism. The angular forms of the triangle, rectangle, and
semi-circle appear to continually rotate in space, giving the impression of energy and infinite
movement.

Lyubov Popova was extremely interested in dynamism, or, representing movement in art,
a problem at the center of many artistic movements, and the focus of many individual artists'
lives. By the time she died in 1924, Popova was an established artist and designer who had made
a major contribution to the development of Modernism in general and Russian Constructivism in
particular.
 Hannah Höch (1889 – 1978)

Hannah Hoch portrait © The art story

Hannah Hoch was a German painter who developed an art form that came to be known as
Photomontage and is only the second of our artists to be an acknowledged feminist. The Austrian
artist and writer whose experimental photographic collages, sound poetry and political, social
and institutional critiques had a significant influence on the development of post war avant garde
art. Hoch came into contact with the literary and artistic circle that formed Dada in 1918.

She explicitly addressed in her pioneering artwork in the form of photomontage the issue
of gender and the figure of woman in modern society. Her transformation of the visual elements
of others by integrating them into her own larger creative projects evidenced a well-developed
early example of "appropriation" as an artistic technique.

Dada Puppen (Dada Dolls) (1916); Heads of State (1918-20); Cut With the Kitchen Knife Through the Last Weimar
Beer-Belly Cultural Epoch in Germany (1919-20)
 Berlin chapter of Dadaists only formed in 1917, Hoch's Dada Puppen (Dada Dolls)
(1916) are small-scale sculptural works that suggests her awareness of Dada ideas. The Heads of
State (1918-20) is built around a newspaper photograph of the German president Friedrich Ebert
and his Minister of Defense, Gustav Noske. The collage is arranged so that it looks like the two
figures have been caught in the net of the embroidery pattern, and it positions these paunchy
heads of state as worthy of ridicule in the process of stripping them of their usual trappings of
masculinity. Though one of Höch's earliest works, Cut With the Kitchen Knife Through the Last
Weimar Beer-Belly Cultural Epoch in Germany (1919-20), which was exhibited in the First
International Dada Fair. The effect is initially one of visual confusion, and yet a kind of
nonsense-narrative begins to develop with sustained attention. She used cuttings from
newspapers and magazines to create one cohesive image out of a myriad of disparate parts.

She actively critiqued prevailing society in her work, and, implicitly, through many of her
life choices. Her active interest in challenging the status of women in the social world of her
times motivated a long series of works that promoted the idea of the "New Woman" in the era.
 Lee Miller (1907 -1977)

Lee Miller portrait © The art story

Lee Miller is probably best known for her contribution to the development of
photography through her joint discovery of the Solarization process with fellow photographer
Man Ray in the 1920’s – although the phenomenon had been known to scientists prior to this as
the Sabattier effect when applied to negatives. Essentially, Solarization involves a partial or
complete inversion of tones within a photographic print; dark becomes light and vice versa.

However, this represents a mere fraction of Miller’s career. Born in New York, she was a
successful fashion model before leaving for Paris in the 1920’s where she became an
accomplished fine art and fashion photographer, muse to Man Ray and regarded as a significant
member of an artistic circle involving most of the major figures in Modern art including, Pablo
Picasso, Paul Eluard and Jean Cocteau and frequently appeared in their work.

Untitled (Rat Tails) (c. 1930); Lilian Harvey, Solarized Portrait (1933); Firemasks, Downshire Hill (1941)

Four white rats are shown in Untitled (Rat Tails) (c. 1930) perch side-by-side in an
ambiguous space. Their little white rumps are brightly illuminated, and leafy shadows dapple the
vague space around them. The rats were most likely living in a market stand amongst other
domestic animals for sale, but their positioning, dramatic lighting and close cropping give the
scene a fairytale ambiance. It shows lighting that creates a mysterious, intriguing atmosphere
rather than detail; Anglo-German film star Lilian Harvey posed in Miller's New York studio in
Lilian Harvey, Solarized Portrait (1933). The glamorous pose is made strange by the process of
solarization. By deliberately over-exposing the film during development the resulting into
partially negative images, with blacks and whites reversed. Catching the subject "not when he is
aware but when he is his most natural self" was her goal; The Firemasks, Downshire Hill (1941)
was taken while on assignment for Vogue magazine. Miller's playfully dark sense of humor is
evident in this image, as well as her consistent interrogation of a woman's place in the world, and
the permeability of boundaries. Firemasks has an element of propaganda to it as well, showing
women adapting to war, however cheekily, and carrying on as normal.

Miller's photographic style combines techniques and formal qualities of Surrealism. She
exemplifies the concept of the modern woman; independent, confident, career focused and
accomplished, with her work unquestionably regarded as being equal to that of her male
counterparts. Miller's life revolved around her artistic practice, and it documented and reflected
her extraordinary life in great detail.

Margaret MacDonald Mackintosh (1865 – 1933)

Portrait of Margaret Macdonald

© GSA Archives & Collections

Although it’s impossible to mention Margaret MacDonald without making reference to

her more widely recognized husband, Charles Rennie Mackintosh, she should be regarded as an
accomplished artist and designer in her own right. She worked in a number of different media
including paint, metalwork, embroidery, and textiles.
 Margaret is known to have made significant contributions to work usually attributed
exclusively with her husband including designs for the “House for an Art Lover” in 1900 and the
Willow Tea Rooms in 1902. Margaret exhibited with Mackintosh at the Vienna Secession in
1900 where her work is known to have had an influence on a number of Secessionist artists
including Gustav Klimt. After Charles Rennie Mackintosh died in 1928, Margaret Macdonald
continued to work at their studio in Chelsea until her own death in 1933.

“House for an Art Lover” in 1900; Willow Tea Rooms in 1902; “Opera of the Winds” 1903

“Opera of the Winds” 1903 is a Gesso panel created for the front of the piano for Fritz
Waerndorfer's Music Room in his Vienna town house. The Mackintoshes remodeled, furnished
and decorated this room in the early 1900s and it became one of the defining features of the
"Glasgow Style" during the 1890s.

Harriet Power (1837–1910)

Portrait of Harriet Power

© mujeresbacanas.com
 was an African-American freed slave and a folk artist who created quilt in rural Georgia. She
used traditional appliqué techniques to record local legends, Bible stories, and astronomical
events. Only two of her quilts are known to have survived: Bible Quilt and Pictorial Quilt.
Thanks to the letter discovered in 2009 we know she was a literate woman who transformed
well-known stories she read herself into pictorial masterpieces.

Pictorial Quilt; Bible Quilt © MacLean, M. (2014)

Jennie Smith, who had purchased the first quilt Powers made – Pictorial Quilt arranged
for it to be exhibited at the Cotton States Exposition in Atlanta in 1895. The Bible Quilt is
thought to have been commissioned by a group of “faculty ladies” at Atlanta University, and
given (together with Powers’ descriptions) as a gift to a retiring trustee. Although only two of her
older quilts have survived, she is now nationally recognized. Using the applique technique,
Powers told stories with her quilts, depicting scenes from the Bible and events in American
history.
 ANITA MAGSAYSAY-HO (1914 - 2012)

Anita Magsaysay-Ho Portrait

© Financial Times

Anita Magsaysay-Ho was often hailed as the greatest woman Filipino painter. She was
the only female member of the Thirteen Moderns, a standing group of Filipino modernist artists
and in 1958 was chosen by a panel of experts at the six major painters of the country. While she
had a distinctive subject matter, celebrating the Filipino woman-mostly peasants-at work,
Magsaysay-Ho’s painting styles evolved over time, from bold brushwork and strong contrasts of
dark and light tones to softening and graceful, almost choreographed lines, to a whole new style
influenced by Chinese calligraphy and finally a “Green Period” where many of the figures
seemed to resemble fruits and plants themselves with solid, highly refined, bold colors.
 © LARK, J. (2013)

The most famous work of Magsaysay-Ho is subjected to the beauty of Filipino women
dealing with everyday issues. As she said, “In my works I always celebrate the women of the
Philippines. I regard them with deep admiration and they continue to inspire me—their
movements and gestures, their expressions of happiness and frustration; their diligence and
shortcomings; their joy of living. I know very well the strength, hard work and quiet dignity of
Philippine women, for I am one of them.”

]
 GERALDINE JAVIER

Geraldine Javier's portrait

© At Maculangan

Javier is a contemporary Filipina Visual Artist who work is best known for her work
which blends of painting with various media, and she is recognized as one of the most celebrated
Southeast Asian artists both in the academic world and in the art market." She rose to
prominence in 2003 when she received the Cultural Center of the Philippines' Thirteen Artists
award and has since exhibited her works widely both in the Philippines and abroad.

Javier's work is best known for its blending of various media - sometimes with her oil
paintings incorporated into installation art, and sometimes with various media such as
embroidery or found objects prominently incorporated into her canvases. Artist and art writer
Nastia Voynovskaya, describing Javier's show, "Stuck in Reverse", in Berlin.
"Stuck in Reverse" (outside 1); "Stuck in Reverse" (outside 2); "Stuck in Reverse" (inside)

Since 2004, Javier has been exhibiting her work internationally. Her pieces are often
described as enigmatic and sophisticated. Instead of stretching her canvases, she incorporates her
oil painting into her installations, sewing them like tapestries into tent structures that evoke the
feeling of "home".
 PACITA ABAD (1946-2004)

© Pacita Abad Art Estate 2018

She was internationally renowned, Philippine-American contemporary painter, was born

in Basco, Batanes, a small island in the northernmost part of the Philippines. Her thirty-year
painting career began when she traveled to the United States to study law in San Francisco. It
was there that she decided to switch careers and dedicate her life to painting. During her career
Pacita created over 4,500 artworks, and her paintings were exhibited in more than 200 museums
and galleries around the world.

Pacita Abad's painting is characterized by color, constant change and experimentation

from the 1970's right up to her passing in 2004. Pacita's most extensive body of work is her
vibrantly, colorful, mixed media painted textile collages, abstract assemblages, and trapunto
paintings.
 A door of many colors; Batanes; Ramayana Tales Bisma Santanu and Dewi Gangga

© Pacita Abad Art Estate 2018

Pacita's early paintings were primarily figurative, socio-political works of people,

refugees and tribal masks drawn from her experiences in Africa, Asia and Latin America. Pacita
Abad's artwork generated a lot of interest and was admired by people around the world. Eleven
books were published about her paintings and career, with commentary by art critics and
museum curators from Asia and Australia. Similarly, most of her solo exhibitions and many of
her group shows were accompanied by catalogues, and almost all were reviewed in the local
press.

During her 30-year artistic career Pacita's paintings were shown in more than 200
museums, galleries and other sites in the U.S., Asia, Australia, Europe, Africa and Latin
America, including 75 solo exhibitions. Pacita's work is now in museum, public, corporate and
private art collections in over 70 countries.

One of her latest exhibits were in 2005 and 2006 in SM Megamall A, organized by
Galleria Duemila, Manila, Philippines; Theatres on the Bay, Singapore; and The World Bank
Galleries, Washington, DC Pacita: Through the Looking Glass.
 YASMIN SISON CHING (1972)

Portrait of Yasmin © Elaine Navas

The artist was born in 1972 in Cavite. After graduating, she took up eighteen units of
education. Her first job was assisting Emong Borlongan at the Cultural Center of the Philippines
when he was teaching drawing at their summer workshop in 1992. She taught English and Art in
grade school full time for a year and then she pursued Fine Arts. She then taught Humanities
and Fine Arts at St. Scholastica's College for about two to three years. After that, she taught
pre-school in Cavite for another 4 years before working as a full-time artist.
Gingerbread Girls 2007; Flow 2008; White Roses 2008 © Artes De Filipinas

In her early years of art directions, Yasmin Sison-Ching began experimenting with
abstract expressionism, (White Roses 2008). The artist then moves toward representational
imagery and has since made a mark with her unflinching portraits of children, capturing their
emotional states as well as their physical and psychological transitions as seen in the
Gingerbread Girls 2007.
 ANNIE CABIGTING

Biography of Annie Cabigting

© widewalls.ch

Born in 1971 in Makati City, Philippines, Annie Cabigting majored in painting at the
University of the Philippines. She views her craft as means to carry on the work of artists who
have inspired her. The whole history of art, including current artworks of both famous painters
and colleagues, can inspire artists; but Cabigting brings an oblique slant to the art world’s
ongoing antiphon by treating iconic pieces as items that have become part of our visual and
mental landscape.
100 Pieces (2005); Annie Cabigting, MOMA, 2015, oil on canvas; Tall Gallery of Finale Art File Museum

© Philippine Tatler, 2018 Finale Art File, ABS-CBN.

Her first solo exhibition, 100 Pieces (2005), was shown in Finale Art Gallery’s space in
SM Megamall, Mandaluyong, Philippines. She was one of the recipients of the Ateneo Art
Awards in 2005, her work was included in the Prague Biennale in Czechoslovakia. She’s been
doing this theme for a few years now, Cabigting’s viewer-as-subject paintings has earned a
following of their own.

Perhaps because of its approachable quality, transporting high art into a contemporary,
relatable setting. March 06, 2018 Cabigting turned her gallery into a museum. The frames were
chosen by Cabigting herself and echoes closely the design of the frames she depicted in the
paintings. She had little more fun presenting her discourse on her art critiquing and its elements:
the artwork, the spectator, and the space between and around them. It’s the artist expanding her
vision of our fleeting relationship with an artwork.
 NONA GARCIA

Artist's Profile: Nona Garcia

© The Philippine Star

Garcia was a recipient of the Cultural Center of the Philippines' Thirteen Artists Award
and was short-listed twice in the Ateneo Art Awards. In 2000, not only was she the youngest
artist in the Philip Morris Asean Awards, she was also the only female participant to win the
grand prize. Born to doctor parents, this 32-year old artist uses photographs as a reference for her
art, and they have been popular for imbibing a surrealist feel. Emptiness and isolation are among
the concepts that are clearly felt and seen in her pieces.
Horizontal Disparity 2017; Figure Study # 1 2008; Ode to Wonderland 2007; Crater 2017

Although representation is key in Nona Garcia’s art of stark realism, there are always
moments when looking at her work involves confrontation with what is hidden, a bout with the
indecipherable essence of things. Nona Garcia’s realism is neither simple depiction of an
overwhelming atmosphere nor the combination of particulars.

NIKKI LUNA

Nikki Luna's portrait

© @nikkiluna

She had been exploring the concept of woman in her art work and her idea of a woman
has gone beyond definitions and borders. Her mother inspired her in all her works. The role of
the woman, assigned by society, is a thankless job when measured against the system that puts
premium on the monetary value of work. According to her, the stereotyping of women is an
unspoken war fought by women and her sketches brings her back to the artist/painter Artemisia
Gentileschi, who, as a woman, endured gender prejudice and sexual violence.
 There is something innately moving about Nikki Luna's work. The UP fine arts graduate
is known for her part-installation, part-sculpture show, The Heartless Insistence of Domestic
Absence. Among the most noteworthy in the series were My Name is Not Mom, an installation
piece that uses old children's clothes, and Mother Fucker, a mixed media artwork that combines
photographs and holograms.

My Name is Not Mom; Mother Fucker

© nikkiluna.com © ArtSlant

The spectrum of struggles of the Feminist is wide and overarching. It is full of

contradictions and revisions. But definitely, one can identify with the fight that it continues to
wage. With Luna's bold works, it is without a doubt, a celebration of femininity and expression.
 NORMA BELLEZA

Norma Belleza's portriat

© Norma Belleza

She was born in San Fernando, Pampanga on May 3, 1939 to a family of movie marquee
and billboard painters, when billboard printing was still scarce at that time. Moving to Manila,
she obtained a bachelor’s degree in Fine Arts at the University of Santo Tomas in 1962. In the
years to come, her works continue to be exhibited and featured in art book, book covers,
magazines and journals. Being idle for 10 years, she had her solo works exhibited at Metro
Gallery in 1976. Ever since then, she had nine one-person shows exhibited at different galleries
such as: Luz Gallery and ABC Gallery.
"Bulungan"; "Self Portriat" 2011; "Mother and Child" 2012

She began by painting dark and sombre representations of religious subjects. Then, she
progressed into colorful and detailed works on folk genre subjects, including Metro Manila
aides, peasants in various rural activities, women vendors, and potters. She emphasizes the
physical strength and native appearance of her subjects.

JOY MALLARI

Joy Mallari's portriat

© Philippine Tatler

She is a contemporary Filipino painter and visual artist born in 1966. Known for a visual
style similar to the contemporary Filipino figurative expressionism. Mallari's works have been
featured in exhibitions all over the world, including Manila, Los Angeles, Denmark, Mexico,
Japan, Australia, Singapore and Malaysia. She uses charcoal, ink and acrylic as a medium to her
paintings.

"Magdalo"; "Hikayat"; "Kutob

The death of her mother forced Mallari to take a leave of absence from UP in order to
work full-time and support her family. Borlongan referred her to a newly opened animation
company, where she found herself working on background animation alongside early pioneers in
the Philippine animation industry.
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