Southeast Asian Artists Magazine Safa Bute Cover

Southeast Asian ARTISTS

MAGAZINE

Arts • Culture • Events

What's Inside . . .

• Brushstrokes Across Borders: My Journey to Johor for the Cultural Canvases Book Launch

• Safa Bute: The Artist Who Listens to the World's Cry

• Waiting To Be Discovered Is Foul…! by Safa Bute

• The 2025 International Colores De La Vida Art and Bonsai Exhibit

• Tamba Yayong: Kinship in Art, A Back to Back Exhibition of Vic Navales and Lito Pepito by: Wilfred Dexter Tañedo

Safa Bute: The Artist Who Listens to the World's Cry

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Brushstrokes Across Borders

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Cover Story

Safa Bute: The Artist Who Listens to the World's Cry

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Waiting to be Discovered is Foul...

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The 2025 International Colores De La Vida Art and Bonsai Exhibit

Page 52

Tamba Yayong : Kinship in Art

From The Editor . . .

In this issue of South East Asian Artists Magazine, we celebrate the vibrant intersections of art, heritage, and human resilience across our region.

• Inside Story: We take you into the Colores de la Vida International Art and Bonsai Exhibit, where living trees and painted canvases converse in harmony—reminding us that artistry is not confined to brushstrokes alone, but thrives in the delicate patience of cultivation.

• Book Launching in Johor Bahru: We spotlight the unveiling of Cultural Canvases, a landmark publication that gathers voices and visions from across Southeast Asia. This book is more than a collection of works—it is a testament to the shared cultural threads that bind our communities and inspire dialogue beyond borders.

• Feature Exhibition: We honor the two-man show of Lito Pepito and Vic Navales, Davao artists whose collaboration, Tamba Yayong: Kinship in Art, explores the bonds of friendship and shared creative spirit. Their works speak of dialogue and harmony, an exemplification on how kinship can be expressed through color, form, and vision.

• Cover Story: At the heart of this issue is Safa Bute: The Artist Who Listens to the World’s Cry. Bute’s practice is a profound response to the urgencies of our time, weaving empathy into form and color. His art does not merely depict—it bears witness, offering solace and awakening in equal measure.

Together, these stories affirm our mission: to honor the artists who shape our cultural landscape and to amplify the voices that remind us of our shared humanity. May this issue inspire you to see, to feel, and to listen more deeply.

Ruth Chua

Visions and Voices

The halls of the Batasang Pambansa are traditionally associated with the rigor of debate and the architecture of law. However, in celebration of National Arts Month, these spaces are transformed into a sanctuary for reflection. "Visions and Voices" serves as a bridge between the legislative heart of the Philippines and the creative pulse of its people, asserting that a nation is built not only through its statutes but through its stories.

The "Visions" within this exhibit represent the foresight and imagination of the Filipino artist. Through varied mediums—from the vivid landscapes of our rural heritage to the sharp, contemporary lines of urban life— these works offer a visual manifesto of where we have been and where we aspire to go. They are windows into the Filipino soul, capturing the nuances of our identity that words often fail to express.

Complementing these sights are the "Voices" of the creators. Every brushstroke, sculpture, and photograph acts as a silent yet powerful testimony. These are the voices of the marginalized, the dreamers, the historians, and the innovators. By bringing these expressions into the halls of Congress, we acknowledge that the work of governance is most effective when it listens to the cultural echoes of the citizenry.

"Visions and Voices" is an invitation to our lawmakers and the public alike to engage in a different kind of session—one where empathy is the primary motion and beauty is the standing order. It is a reminder that while laws provide the structure of our society, it is our art that gives it meaning and life.

Roy Espinosa

A Life Immersed In Art and Rain Joie Pabilando

Anative of Bulan, Sorsogon, Joie holds a degree in Industrial Arts majoring in Architectural Drafting from Sorsogon State College in 1994. He later pursued a Master of Arts in Industrial Technology at the Technological University of the Philippines in 2004. Though his academic path pointed towards teaching and technical drafting, Joie’s true calling was always in the arts. His heart never settled in the classroom or behind a drafting desk—it beats for the brush, the pencil, and the canvas.

From a young age, Joie found joy in sketching, often using his siblings as subjects. Their

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faces and gestures became the first muses of his artistic journey. His talent was evident early on, earning him the “Outstanding in Arts” award in high school (1988) and “Best in Drafting Technology” in college (1993). In 1998, he claimed first prize in a Bicol-wide on-the-spot drawing competition, further affirming his artistic prowess.

Despite encouragement from his uncle to enter the academe and teach architecture-related subjects, Joie found the structured environment stifling. His passion for art was too intense to be contained by syllabi and technical manuals. Instead, he ventured into the world of illustration, working with the now-defunct Graphic Arts Services, Inc. (GASI), once a powerhouse

in Philippine comics publishing. There, he created covers and illustrations and even penned short stories, contributing to the legacy of Filipino komiks.

Joie’s artistic journey didn’t stop at illustration. He explored animation, freelancing for three years with various studios in Metro Manila. Yet, it was painting— especially watercolor—that became his signature medium. Known for his mastery of this notoriously challenging technique, Joie has produced mesmerizing works that evoke emotion and atmosphere with delicate strokes and fluid transitions.

His most compelling series centers on rain. A self-proclaimed pluviophile, Joie finds inspiration in the wet season, which he describes as a source of inner peace and creative energy. His rain-themed paintings often depict scenes viewed through a glass window, with water droplets blurring the subjects into dreamlike forms. This unique perspective creates a sense of intimacy and reflection, inviting viewers to feel the serenity he experiences during rainfall.

Joie’s love for rain culminated in his participation in the 2018 group exhibit “Mind Over Water” at Galerie Anna, where he debuted his notable works “Pit-pattering 1 & 2.” These pieces captured the emotional resonance of rain and its power to motivate and soothe. His first solo exhibit, “Pitter-Patter,” was held at Art Elaan in 2021.

With over 75 group exhibitions both locally and internationally, Joie has earned recognition as a multi-awarded watercolorist. He won the Grand Prize at the 12th Festival Watercolor “Confluences” in France (2019), placed twice in the Top 5 at the Kulay Sa Tubig competition, and secured 2nd Prize at the 2023 GSIS Art Competition.

Beyond painting, Joie enjoys cycling, gardening, vlogging, and caring for his dogs—simple pleasures that reflect the same tranquility found in his art. His journey is a testament to following one’s passion, even when it rains.

—Ruth Espinosa

Painting Stillness, Breathing Memory

Lemuel Cunanan

Lemuel Cunanan’s artistic journey began not in galleries, but on the roads—through the kinetic, chromatic world of jeepney art. With an airbrush as his first tool, he transformed metal canvases into moving murals, honing a sensitivity to motion, detail, and vibrancy. This early immersion laid the groundwork for a quieter, more introspective evolution: from the roar of engines to the hush of oil on canvas.

A self-taught artist, Cunanan draws deeply from the legacies of Fernando Amorsolo and Juan Luna, channeling their reverence for light, narrative, and national identity. His paintings—whether landscapes bathed in golden glow or solitary figures suspended in thought—carry a quiet intensity. Each brushstroke is deliberate, each composition steeped in atmosphere. His realism is not rigid; it breathes, it remembers.

Cunanan’s rise in the contemporary art scene has been marked by recognition from the GSIS Art Competition, where he was named a finalist in both 2018 and 2023. These accolades affirm his place among the country’s most compelling visual storytellers.

Among his standout works is A Blaze in Silence, a study in paradox. The canvas simmers with restrained fire—its muted palette and layered textures speak of emotion held just beneath the surface. It’s a painting that doesn’t shout, but smolders.

In Whisper of the Cosmic Wind, Cunanan ventures into the ethereal. Figures drift like memory through veils of soft light, evoking themes of impermanence and the delicate tension between presence and absence. The work feels like a breath caught mid-sigh.

Breath of the Earth returns to grounded tones and contemplative rhythm. Its interplay of shadow and illumination invites quiet reflection, as if the land itself were exhaling. The painting pulses with unseen emotion, rooted in soil and silence.

And in Hamon ng Buhay, a finalist piece from 2023, Cunanan offers a portrait of resilience. Rich in symbolism and texture, the work balances classical form with contemporary depth. It is both a tribute and a testament—to the Filipino spirit, and to the artist’s own enduring voice.

Lemuel Cunanan’s art doesn’t demand attention—it earns it. His canvases whisper, linger, and glow with memory. In a world of noise, his work offers refuge: a space to feel, to reflect, and to remember.

—Roy Espinosa

Brushstrokes Across Borders: My Journey to Johor for the Cultural Canvases Book Launch

By Roy Espinosa

There’s something magical about packing your bags not just for a trip, but for a purpose. When I boarded my flight to Kuala Lumpur enroute to Johor Bahru, Malaysia, I wasn’t just carrying luggage—I was carrying stories, canvases, and the hopes of 15 Filipino artists whose works were about to be unveiled to a new audience. The occasion? The launch of Cultural Canvases, a book I had the honor of publishing, and an international exhibition that blossomed from friendship, collaboration, and a shared love for art.

Arrival in Johor: A City of Surprises

After a four-hour bus ride from Kuala Lumpur, Johor greeted me with its warm tropical breeze and a skyline that blends modernity with heritage. The YES AMJB R&F (JB) Gallery at the R&F Mall, nestled in the heart of the city, was our venue—a sleek, contemporary space that felt like the perfect canvas for our collective vision. I was met by my dear friend and co-organizer, Dr. Ding, the gallery’s owner and a passionate advocate for cultural exchange. Together, we had spent months planning this event, and now, standing in the gallery surrounded by blank walls soon to be filled with color, it all felt real.

The Birth of Cultural Canvases

The idea for Cultural Canvases began as a whisper—a desire to document the emotional and cultural depth of Southeast Asian art. As a visual artist myself, I’ve always believed that art is more than aesthetics; it’s a language of memory, identity, and resilience. With contributions from 84 artists across continents—the book became a tapestry of voices, each page a window into a different world.

Publishing the book was a labor of love. I worked closely with writers and designers to ensure that every detail—from the layout to the artist statements reflected the soul of the project. And now, here we were, ready to launch it in a city that thrives on diversity.

Setting the Stage: From Page to Gallery

The exhibition, titled International Art Dialogue Exchange Exhibition, was more than a showcase—it was a celebration. We transformed the YES+AMJB R&F (JB) Gallery into a living museum of emotions. Each artwork invites the visitors to read the artist’s thoughts while standing before their creations.

The Filipino delegation was strong and spirited. Alongside me were Irma, Aris, Espie, Roland, Al, Manny, Mark, Jaz, Lemuel, Celso, Fe, and Ana— each bringing their own flavor of Filipino artistry. From impressionistic landscapes to abstract expressions of inner turmoil, our works spoke of home, heritage, and heart.

Malaysia was beautifully represented by five artists, including the brilliant Cheong Mae Fong and Esther Wong, whose pieces added layers of local texture and symbolism. Singapore’s three artists brought a minimalist elegance, while the lone representatives from Vietnam and India offered powerful reflections on identity and tradition.

Behind the Scenes: Friendship and Collaboration

Working with Dr. Ding was a joy. His vision for the gallery and his commitment to cultural dialogue made every challenge feel surmountable.

Our partnership was rooted in mutual respect and a shared dream—to create a space where artists from different backgrounds could meet, exchange ideas, and inspire one another. The exhibition was our gift to the region, a testament to what’s possible when borders dissolve in the face of creativity.

The Launch: A Day to Remember

The launch day was electric. Due to the limited space at the YES AMJB Gallery, the formal program was held at the Sales Gallery right across the R&F Mall. Guests poured in—artists, collectors, diplomats, and curious mall-goers. The venue buzzed with conversation and laughter. I gave a short speech, thanking everyone who made the event possible, and spoke about the importance of cultural storytelling.

Dr. Ding shared his own reflections, emphasizing how art can foster empathy and understanding.

After partaking at the sumptuous buffet right after the program, everyone headed back to the YES+AMJB R&F (JB) Gallery at the R&F Mall to view the artworks on exhibit.

Seeing people pause before a painting and nod in quiet recognition—it was the kind of moment that makes all the effort worthwhile.

Snapshots and Souvenirs

Of course, no travel blog is complete without a few snapshots. I wandered Johor’s streets in between gallery duties, soaking in the local flavors. I visited heritage sites, tried nasi lemak, and chatted with fellow artists over kopi. The city’s energy reminded me of Manila—chaotic, colorful, and full of stories waiting to be told.

I brought home not just memories, but new friendships, fresh inspiration, and a renewed sense of purpose. The book was well-received; plans are already underway for another book to launch in another country and even back home to Manila.

Reflections: Why We Do What We Do

As I sit here writing this, I’m reminded of why I became an artist in the first place. It’s not just about creating—it’s about connecting. Cultural Canvases was a dream that became reality because of collaboration, passion, and a belief in the power of art to unite.

To my fellow artists, thank you for trusting me with your stories. To Dr. Ding, thank you for being a partner in this journey. To my sister Ruth, thank you for spending late nights writing and editing the book. And to Johor, thank you for welcoming us with open arms. Until the next adventure—keep painting, keep dreaming, and keep believing in the beauty of shared stories.

Lisa Teo : Nature, Healing, and the Journey Within

AMalaysian artist and certified art therapist whose creative practice bridges the realms of visual storytelling and emotional healing. A lawyer by training, she transitioned into the world of art more than a decade ago, guided by a deep conviction that creativity holds the power to transform lives. Based in Kuala Lumpur, Lisa has steadily built a reputation for her evocative paintings and her pioneering work in art therapy, both of which reflect her belief in the interconnectedness of nature, humanity, and consciousness.

In 2024, Teo’s international presence expanded through her participation in two group exhibitions in the United States. Alongside her previously noted showcase, she also exhibited in An Exhibition of Small Works by Female Artists from Around the World at a gallery in New York. For this show, she presented a small painting of a paddy field—an intimate work that resonates with her ongoing exploration of agrarian landscapes and their cultural significance.

Her paintings are visual narratives that chronicle the awakening of the self and the yearning to connect with inner consciousness. Nature serves as her constant muse—whether in the lush paddy fields of Malaysia, the depths of the ocean, or the majesty of mountains. Through her brushstrokes, Lisa invites viewers to contemplate life’s cycles, resilience, and renewal. Her Paddy Field Series (2017–2021) emerged during the turbulence of the COVID-19 pandemic, offering solace in the rhythm of growth and harvest. These works remind audiences that patience, resilience, and the promise of renewal are intrinsic to the human experience. Later, her Ocean Series (2023) shifted focus to the mysteries of marine life, drawing parallels between the unexplored depths of the sea and the subconscious mind. Impressionistic strokes capture the fluidity of water and emotions, while glowing light within the canvases symbolizes illumination and self-discovery.

Lisa’s artistic journey has been marked by significant milestones. She has participated in numerous group exhibitions in Kuala Lumpur and Petaling Jaya, and her talent has been recognized internationally. Her solo exhibitions—Reflection (2021) and Inbound (2023) at Gallery 1819 in Singapore—showcased her evolving exploration of inner landscapes and external environments. In 2024, she extended her reach to the United States, participating in the Walt’s Waltz Mental Health Moonshot in South Carolina, affirming her commitment to art as a universal language of healing and connection.

Parallel to her studio practice, Lisa is a certified Guided Drawing art therapist. Her therapeutic sessions empower clients to bypass the rational mind and access deeper subconscious layers through simple, rhythmic shapes drawn with both hands. This method fosters self-discovery, emotional release, and inner transformation. Clients report reduced stress and anxiety, improved confidence, and greater clarity in decision-making. Lisa has conducted therapy sessions and workshops for diverse audiences, including corporate employees, university students, and community groups. Her collaborations with organizations such as AXA, Coca-Cola, and Taylor’s University highlight her ability to integrate art therapy into both personal and professional contexts. As a HRD Corp certified trainer, she extends her expertise to corporate wellness programs, helping employees enhance productivity, relationships, and mental health.

Lisa’s dual identity as artist and therapist underscores her philosophy that art is not only a medium of expression but also a pathway to healing. Her landscapes and seascapes are imbued with both aesthetic beauty and therapeutic resonance, inviting viewers to embark on their own journeys of reflection and renewal. Through her exhibitions, therapy sessions, and workshops, Lisa Teo continues to foster dialogue

between art, nature, and the human spirit, affirming her place as a vital voice in Malaysia’s contemporary art scene.

—Roy

Cubism Self-Portrait Oil on Canvas 42 x 30cm 2015

Sanctity

Acrylic on Canvas 80 x 120cm 2023

Aries Gabriel Pagkatipunan: Sculpting Stories in Wood

Aries Gabriel’s journey into the world of craftsmanship is a testament to the transformative power of passion, perseverance, and artistry. From humble beginnings as a house painter and landscape artist, Aries carved his path—literally and figuratively— into the realm of fine woodworking, establishing himself as a respected figure in the Filipino furniture-making scene.

His early years were marked by a hands-on approach to creativity, painting homes and capturing outdoor scenes. These formative experiences honed his eye for detail and nurtured a deep appreciation for materials and textures. In time, Aries joined A.G Pagkatipunan Woodworks, where he immersed himself in the discipline of carpentry and furniture design. This pivotal chapter laid the foundation for his own venture, which he launched in 2008 as a home-based furniture business.

What began as a modest operation soon flourished into a trusted name in custom woodwork. Aries Gabriel’s creations now grace establishments such as Brews and Views in Tanay, Rizal and Café Claus in Eastwood Libis, reflecting his ability to blend utility with aesthetic charm. His portfolio spans a wide array of indoor and outdoor pieces—dining sets, accent dividers, bed frames, console tables, wood art, collectibles, and novelty items—all crafted with precision and soul.

Aries is known for his discerning use of premium hardwoods, including Nara, kamagong, yakal, and balayong. These materials, rich in grain and heritage, are not merely chosen for durability but for their expressive qualities. Each piece he produces reveals the natural character of the wood, enhanced by his intuitive craftsmanship and thoughtful design. His work is not just functional—it tells a story, evokes emotion, and honors the legacy of Filipino woodworking traditions.

Beyond the artistry, Aries Gabriel is committed to excellence in service. He offers competitive pricing, timely delivery, and aftercare services such as repairs and retouching, ensuring that each client receives not only a product but a lasting relationship built on trust and quality. His approach is holistic, merging manual skill, intellectual rigor, and heartfelt dedication.

At the core of Aries’s philosophy is a belief in the dignity of labor and the elevation of craft into art. This ethos is beautifully captured in the quote that guides his practice: “He who works with his hands is a laborer. He who works with his hands and his head is a craftsman. He who works with his hands, his head and his heart, is an ARTIST.”

Aries Gabriel embodies this triad of mastery. His workshop is more than a place of production—it is a sanctuary where wood becomes legacy, and where every chisel stroke is a tribute to the Filipino spirit of ingenuity. Through his work, Aries continues to shape not just furniture, but the cultural narrative of craftsmanship in the Philippines.

—Roy Espinosa

2025

2024

Human

Dao, Kamagong, Ipil, Yakal, Narra, Giho

L 10 x H 32 x W 6in

2025

Snapping Turtle Yakal, Kamagong Balayong

L 12 x 8 H x W 11in

2025

Safa Bute: The Artist Who Listens to the World's Cry

In the quiet folds of central Anatolia, where the ancient city of Niğde rests beneath the shadow of volcanic peaks, a movement was born—not of politics or commerce, but of color, compassion, and conviction. At its heart stood Safa Bute, a Turkish artist whose brush strokes spoke louder than speeches and whose exhibitions became sanctuaries for the unheard.

Safa Bute is not just a painter. He is a builder of bridges—between cultures, generations, and fractured histories. Born in Istanbul and educated at Mimar Sinan Fine Arts University, Safa’s early work was marked by emotional intensity and a deep engagement with social themes. But it was in Niğde, far from the bustling art scene of the capital, that he found his true calling: to create a platform where art could transcend borders and speak to the soul of humanity.

In 2010, he founded Art Niğde International, a visionary initiative that transformed the city into a global hub for artistic exchange. What began as a

modest gathering of local painters soon blossomed into a vibrant international festival, drawing artists from over 40 countries. Sculptors from Peru, photographers from Japan, muralists from Kenya—all came to Niğde, united by Safa’s belief that art is a universal language.

But Safa’s most powerful creation was Art

Quake, an annual exhibition that shook more than just the walls of galleries. It shook consciences. It shook silence. It shook the world awake.

Now entering its 16th edition this October, Art Quake has become a beacon for socially engaged art. Each year, Safa curates the exhibition around a theme that reflects global pain and hope. Past editions have tackled war, displacement, climate collapse, and forgotten histories. But this year’s theme is perhaps the most haunting yet:

All the Children Cry in the Same Language. The title alone is a cry for empathy. It evokes images of refugee camps, bombed classrooms, and the quiet tears of children caught in the crossfire of adult decisions. Safa chose it not for shock value, but for truth. “No matter where they are—Gaza, Ukraine, Sudan, or Syria—children cry with the same voice,” he said in a recent interview. “And if we don’t listen, we lose our humanity.”

The upcoming exhibition will feature over 150 artists from five continents. Installations will include a soundscape of lullabies sung in endangered languages, a sculpture garden made from salvaged toys, and a digital mural composed of children’s drawings from conflict zones. Safa has also invited poets, musicians, and educators to participate in workshops and panels, ensuring that Art Quake remains not just a visual experience, but a communal reckoning.

What sets Safa apart is his refusal to separate art from activism. He doesn’t just curate exhibitions— he curates emotion, urgency, and dialogue. His own paintings, often tucked quietly into corners of the shows, are raw and evocative: faceless children reaching for light, cities melting into tears, birds flying from broken cradles. They don’t scream. They whisper. And in that whisper is a world of grief and grace.

Despite his growing international reputation, Safa remains deeply rooted in Niğde. He lives in a modest studio near the city’s old bazaar, surrounded by canvases, coffee cups, and letters from artists around the world. He teaches workshops in local schools, mentors young creatives, and continues to organize community art events that bring together farmers, students, and elders.

His philosophy is simple: “Art must be felt before it is understood. And if it doesn’t make you feel, it’s just decoration.”

In a time when the world often feels numb to suffering, Safa Bute insists on feeling. He insists on

listening. And through Art Niğde International and Art Quake, he has built a legacy not of fame, but of empathy.

Last October 2025, as the 16th edition opens under the banner All the Children Cry in the Same Language, Safa invited the world not just to look—but to see. Not just to hear—but to listen. And not just to admire—but to act.

Because in the end, art is not just what hangs on walls. It’s what moves hearts. And Safa Bute has made it his life’s work to ensure that those hearts never stop beating for justice, for beauty, and for the children whose tears speak the truth we must never ignore.

Waiting To Be Discovered Is Foul…!

By Safa Büte

Let the glitters, the light of your eyes, your secrets and beauties that make you who you are, stay with you. Stay pure and clean! Live without anyone noticing you. Live so that; No one, but no one should know that you are a drop in the sea, or a sea in the drop. Live such a life; Let not even a tiny fish understand that you are a sea. Otherwise you will perish. They take from you everything that makes you you, everything that makes you valuable. Then; you're done. You disappear.

I have never taken pleasure in the praise of arrogant people and those who do not understand art. They are always; They told what they could see, not what they couldn't see.

Artist, you who call yourself an artist; Are you so far from secrets that a wise man can discover it right away; Are you waiting to be discovered by many knowledgables? Looking into the eyes of each praiser; you are smiling. Hide your secrets, inner world, and mood in your painting, in your work; Let some who look at your picture understand you, some understand a little, and only a few people understand you very little. Some don't understand at all, only you understand..! But no one should understand at least half of your work. Just you..! Only you know, you understand..!

Discovery and fame means others own and

market what you have. What happens next? Your mood cannot afford to produce as before. Then you start babbling. They say, "The man sells his signature, not his picture." What a pain.

Nothing remains but his signature. Some also lose their signature. Saying art, he exhibits the empty frame that he cannot fill, and a fool who knows too much buys it. Such so-called artists; It comes from those who try to sell their so-called non-existent works that were previously inflated with air bubbles blown into them. There are pictures on display in the display, but there are actually not. The so-called artist stole from him and plagiarized him, he has nothing of his own. If you add copyists to these, see what state the art is in? Those who stole it, those who came out as me… Hey hey hey, many of them became famous! Wow Wow wow.! I am not at all surprised that those who copy other people's pictures and present them as their own are so stupid and unintelligent. Because in their own brains, crops, eyeballs, fingers with pencils and brushes, they do not have a soul, creativity or anything else of their own. If it did, it wouldn't transfer other people's dreams onto its own canvas. What foolishness and audacity..!

Safa Bute, 31 October 2022 Nigde – Türkiye

The 2025 International Colores De La Vida Art and Bonsai Exhibit

by Roy Espinosa

In December 2025, the lush grounds of Paraiso de Avedad in San Pablo City, Laguna transformed into a vibrant sanctuary of creativity and living heritage. The International Colores de la Vida Art and Bonsai Event, held from December 8 to 15, 2025, brought together artists, bonsai masters, and cultural advocates from across the globe, reaffirming the Philippines’ place as a hub for intercultural dialogue and artistic innovation.

A Gathering of Global Artists

The event was spearheaded by Roy Espinosa, a passionate cultural organizer who has long championed Filipino art on the international stage. Espinosa personally invited foreign artists he had met during symposiums abroad, ensuring that the gathering was not only diverse but deeply personal in its connections.

Among the featured international artists were:

• Lucila Favieri (Argentina): Her abstract canvases, layered with memory and landscape, evoked the vast pampas and the intimate spaces of recollection.

• Temenuga Dimova (Bulgaria)

Temenuga Dimova’s art reflects Bulgaria’s cultural richness, blending symbolism with expressive color. Her works explore identity, resilience, and transformation, offering audiences a vivid dialogue between heritage and contemporary creativity. Dimova’s practice celebrates both personal vision and collective memory, positioning her as a distinctive voice in Bulgarian contemporary art.

• Aytac Cagin (North Cyprus)

Aytac Cagin, confronted themes of displacement, his bold strokes echoing the struggles of identity in a divided homeland

• Serif Cagin (North Cyprus)

Serif Cagin, a printmaker and teacher from North Cyprus, merges technical mastery with cultural storytelling. His works highlight Mediterranean heritage through innovative printmaking techniques, balancing

tradition and experimentation. As an educator, Cagin nurtures future generations, affirming his dual legacy as both artist and mentor within Cyprus’ evolving art landscape.

• Keiichiro Kimori (Japan)

Keiichiro Kimori channels Japanese aesthetics into contemporary abstraction, weaving tradition and innovation. His works explore harmony, impermanence, and light, reflecting cultural heritage while engaging global audiences. Kimori’s canvases embody meditative rhythm, inviting viewers into spaces of balance and contemplation within modern artistic discourse.

• Bosuk Lee (Korea)

Bosuk Lee’s art bridges Korean heritage with modern experimentation. Through bold textures and layered symbolism, his works evoke resilience and transformation. Lee’s practice celebrates cultural identity while embracing universal themes of renewal, positioning him as a dynamic voice in Korea’s evolving contemporary art landscape.

• Yeongae Yu (Korea)

Yeongae Yu explores intimacy and memory through delicate compositions. Her paintings highlight emotional resonance, blending traditional Korean motifs with contemporary sensibilities. Yu’s art celebrates personal narratives while inviting collective reflection, offering audiences a poetic dialogue between past and present.

• Antanas Obscarskas (Lithuania)

Antanas Obscarskas brings Lithuanian visual heritage into vibrant modernity. His works fuse folklore, symbolism, and abstraction, reflecting both national identity and universal human experience. Obscarskas’ art celebrates resilience and cultural continuity, positioning him as a bridge between tradition and contemporary expression.

• Shirley Chu (Malaysia)

Shirley Chu’s art embodies Malaysia’s multicultural vibrancy, blending diverse influences into expressive forms. Her works highlight identity, nature, and harmony, celebrating cultural intersections. Chu’s practice reflects both personal journey and collective heritage, offering audiences a dynamic vision of Southeast Asian creativity.

• Vahida Hasanaga Nimanbegu (Montenegro)

Vahida Hasanaga Nimanbegu explores Monten egrin heritage through expressive symbolism and contemporary experimentation. Her works highlight resilience, identity, and cultural continuity, blending tradition with modern narratives. Vahida’s art invites reflection on memory and transformation, positioning her as a distinctive voice in Montenegro’s evolving artistic landscape.

• Lisa Nimanbegu (Montenegro)

Lisa Nimanbegu brings fresh perspectives to Montenegrin art, weaving personal narratives with cultural motifs. Her compositions balance innovation and heritage, celebrating identity and renewal. Lisa’s practice reflects a dynamic engagement with contemporary creativity, offering audiences a poetic dialogue between tradition and modern expression.

• Farruck Negmatzade (Tajikistan)

Farruck Negmatzade’s art reflects Tajikistan’s landscapes and cultural memory, blending symbolism with expressive color. His works celebrate resilience, spirituality, and identity, offering audiences a vivid portrayal of Central Asian heritage within contemporary artistic discourse.

• Regina Bachinska (Ukraine)

Regina Bachinska’s art embodies Ukraine’s spirit of endurance and beauty. Through expressive forms and symbolic imagery, her works highlight cultural resilience and personal reflection. Bachinska’s practice bridges heritage and modernity, affirming art’s power to inspire hope and dialogue.

• Shaw Merob (USA)

Shaw Merob explores contemporary identity through bold abstraction and experimental media. His works reflect cultural diversity and innovation, celebrating freedom of expression. Merob’s art positions him as a dynamic voice in American contemporary practice, engaging audiences with energy and vision.

• Dishod Asisov (Uzbekistan)

Dishod Asisov’s art draws from Uzbekistan’s rich heritage, blending traditional motifs with modern experimentation. His works celebrate cultural continuity, resilience, and transformation, offering audiences a vivid dialogue between past and present.

• Dang Tuan (Vietnam)

Dang Tuan’s art reflects Vietnam’s landscapes and cultural narratives, blending symbolism with expressive color. His works celebrate heritage and identity, inviting audiences into spaces of reflection and renewal.

• Kuolg Tran (Vietnam)

Kuolg Tran explores contemporary Vietnamese identity through dynamic compositions. His works highlight resilience, tradition, and modernity, offering audiences a poetic dialogue between cultural memory and innovation.

Filipino artists, meanwhile, brought local narratives to the fore. Works from San Pablo City highlighted ecological concerns, while Manila-based artists explored urban alienation and resilience. Together, they created a dialogue between local and global, tradition and innovation.

Bonsai as Living Sculpture

Parallel to the art exhibitions was the bonsai showcase, a highlight of the Colores de la Vida ethos. Bonsai, often described as “living sculpture”, embodies patience, discipline, and harmony with nature. The event featured master growers from the Philippines and abroad, presenting miniature landscapes that echoed the themes of resilience and beauty.

The bonsai segment was supported by international bonsai networks such as the World Bonsai Friendship Federation (WBFF), which promotes bonsai as a universal art form. Visitors marveled at centuries old specimens alongside innovative contemporary arrangements, underscoring bonsai’s dual identity as tradition and experiment.

Themes of “Colors of Life”

The title Colores de la Vida—“Colors of Life”— was more than symbolic. It captured the event’s spirit: a celebration of diversity, vitality, and interconnectedness.

• Artworks explored themes of migration, memory, ecological balance, and cultural identity.

• Bonsai displays reflected cycles of growth, decay, and renewal, mirroring human experience.

• Workshops and talks encouraged participants to see art and bonsai not as separate disciplines but as complementary expressions of life’s complexity.

• Paraiso de Avedad: A Perfect Setting

Nestled in San Pablo City, Paraiso de Avedad provided an idyllic backdrop. Its gardens, water features, and open-air pavilions created a seamless blend of nature and art. The venue itself became part of the exhibition, reminding visitors that art flourishes best in harmony with its environment.

• Cultural Impact

The 2025 edition marked the second time Paraiso de Avedad hosted this international event, strengthening San Pablo’s reputation as a cultural destination. For local communities, it was an opportunity to engage with global art trends while showcasing Filipino creativity. For international guests, it was a chance to experience the warmth of Filipino hospitality and the richness of Laguna’s heritage.

• Legacy and Future

The International Colores de la Vida Art and Bonsai Event is more than an exhibition—it is a movement. By bridging visual art and bonsai, it fosters dialogue between tradition and innovation, nature and culture, local and global. Its legacy lies in the connections it nurtures: between artists and audiences, between nations, and between humanity and the living world.

Conclusion

The 2025 Colores de la Vida event at Paraiso de Avedad was a kaleidoscope of creativity and living heritage, a testament to the power of art to unite across borders. As the bonsai trees continue to grow and the artworks find new homes, the spirit of Colores de la Vida endures— reminding us that life itself is the greatest canvas.

Between Canvas and Word

Paretas Hutanggura stands as one of Thailand’s most intriguing contemporary artists, a creator whose practice bridges the worlds of visual art and literature. Since his first solo exhibition in 1991, Hutanggura has steadily carved a reputation for works that are both enigmatic and deeply human, weaving together cultural symbolism, surrealist imagery, and narrative depth. His dual identity as painter and novelist allows him to move fluidly between disciplines, crafting art that resonates on multiple levels.

• A Distinctive Vision

Hutanggura’s paintings are marked by intricate compositions and a sense of mystery that invites viewers into layered stories. His canvases often blur the line between dream and reality, reflecting his fascination with the subconscious and the philosophical questions that underpin human

existence. This narrative quality is no accident: his literary background informs his visual language, giving his art a rare ability to speak in metaphors and allegories.

• Exhibitions and Collaborations

Over the decades, Hutanggura has presented his work in numerous solo and group exhibitions across Thailand. His participation in projects such as Neo Barbarian, a Thailand–Indonesia Art & Culture Exchange, underscores his commitment to dialogue across borders. International platforms like the Langkawi Art Biennale have further amplified his voice, positioning him as a Thai artist with global resonance.

• Literary Pursuits

Equally compelling is Hutanggura’s contribution to literature. His novels—among them The Wizard of Building, Digital Hymn, and Hermit’s Daughter explore themes of identity, technology, and spirituality. These works mirror the philosophical undertones of his paintings, offering readers a parallel journey into his imagination. For Hutanggura, writing and painting are not separate practices but complementary expressions of the same creative impulse.

• Legacy and Influence

What makes Hutanggura remarkable is his ability to embody the role of both storyteller and image-maker. His art challenges audiences to think beyond aesthetics, to engage with ideas of culture, memory, and transformation. Younger Thai artists often look to his career as a model of interdisciplinary exploration, proof that creativity need not be confined to a single medium.

As he continues to produce new work, Paretas Hutanggura remains a vital figure in Thailand’s cultural landscape. His legacy lies not only in the canvases he paints or the novels he writes, but in the way he demonstrates that art and literature together can illuminate the complexities of human experience.

—Roy Espinosa

Let's Wait, See and Play one Oil on Canvas

80 x 100cm 2023

John Mark I. Cunanan: Crafting Meaning from the Everyday

In the vibrant landscape of contemporary Filipino art, few young voices resonate with both intimacy and conviction as strongly as John Mark I. Cunanan. A painter, educator, and son of artist Lemuel Cunanan, John Mark embodies the continuity of artistic legacy while carving out his own distinct path. His works—primarily in oil on paper and canvas—transform ordinary objects into vessels of memory, emotion, and meaning, reminding us that beauty often lies in the overlooked details of daily life.

Still life has become his chosen language, a genre through which he explores both technical mastery and quiet storytelling. Each composition is a meditation on presence and permanence, rendered with precision yet infused with warmth. His art is not merely about representation; it is about evocation—capturing the spirit of things that surround us and the narratives they silently hold.

Recognition came early. In 2023, Cunanan won 1st Prize in Pililla, Rizal’s art competition with his piece Vigorous Solidarity and Leadership, created under the national theme “Ani ng Sining, Bunga ng Galing.” The work stood out for its balance of strength and sensitivity, a testament to his ability to translate collective ideals into visual form. This achievement propelled him toward larger stages: the GSIS Art Competition in 2024, and most recently, in 2025, his piece Butil ng Pagtanggap, a profound reflection on resilience and acceptance. Each milestone has expanded his reach while deepening his voice as an artist attuned to both personal and social narratives.

Yet Cunanan’s practice extends beyond the canvas. Passionate about education, he mentors a budding artist, sharing techniques refined through his own journey and inherited from his father. His teaching is rooted in discipline but equally in encouragement, fostering individuality in his student’s work. This dedication to mentorship underscores his belief that art is not only created but also cultivated, passed on through dialogue and shared experience.

Portraiture forms another dimension of his practice. Using charcoal, Cunanan crafts lifelike commissions that capture not just physical likeness but emotional resonance. His portraits are intimate studies of character, imbued with sensitivity and depth, offering viewers a glimpse into the inner worlds of his subjects.

Currently, Cunanan is venturing into mixed media, experimenting with acrylic pens and colored pencils to achieve hyper-realistic effects. This exploration signals his restless curiosity and commitment to growth, a refusal to remain confined by tradition even as he honors it. His evolving style reflects a young artist unafraid to push boundaries while remaining grounded in the fundamentals of craft.

For John Mark I. Cunanan, art is a journey of discovery—an ongoing dialogue between heritage and innovation, between the everyday and the extraordinary. His works invite us to pause, reflect, and find meaning in the familiar. As he continues to expand his practice, he stands as one of the promising voices of his generation, carrying forward the Filipino artistic spirit with devotion, resilience, and vision.

—Roy Espinosa

Tamba Yayong: Kinship in Art

Written by: Wilfred Dexter Tañedo

Tambayayong, a Visayan term that speaks of working together in unity and shared purpose, perfectly frames this back-to-back exhibition by Vic Navales and Lito Pepito. More than a title, Tamba Yayong reflects the deep artistic kinship and mutual respect between two artists whose paths intersect not only in creative vision but also in leadership. This exhibition marks a symbolic transition within the Davao Art Forces, Inc. (DAFI), featuring Navales as the outgoing president and Pepito as the incoming one—an artistic passing of the torch that celebrates continuity, collaboration, and collective growth within the local art community.

Vic Navales’ works invite viewers into intimate, almost meditative worlds where nature and imagination quietly coexist. His compositions often highlight small ecosystems—lush plants, delicate forms, and carefully balanced environments—that evoke a sense of wonder and mindfulness. Through meticulous detail and controlled realism, Navales transforms everyday natural elements into spaces of reflection, reminding viewers of the fragile beauty that thrives when patience and care are present. His art feels contemplative, offering a pause from noise and urging a reconnection with the calm rhythms of life.

In contrast yet in harmony, Lito Pepito’s works are vibrant, expressive, and deeply human. His paintings celebrate daily life, relationships, and cultural narratives rendered through bold colors, rhythmic forms, and dynamic movement. Pepito’s figures often embody warmth and intimacy—motherhood, companionship, and shared moments—translated through a modern visual language that feels both personal and communal. His art reflects lived experience, memory, and emotion, capturing the poetry of ordinary moments elevated through artistic expression.

Together, Tamba Yayong becomes more than a dual exhibition; it is a shared offering to the community. By bringing together Navales’ quiet reflections on nature and Pepito’s vivid portrayals of human connection, the exhibition highlights the beauty of everyday life seen through different yet complementary lenses. It affirms art’s role in grounding us—in reminding us of where we come from, what surrounds us, and how collective vision can shape a richer, more connected cultural landscape.

The Museum and Gallery of Modern and Contemporary Art

The Museum and Gallery

Is dedicated to collecting, preserving, and interpreting developments in the late 19th century to post-World War II art through 1970’s (Modern Art) and 1970’s to the present (Contemporary Art) in all media and creating a welcoming environment for its public appreciation. The Museum promote understanding and interest in art and artists through art shows and exhibitions, curatorial research and publications, and a variety of educational programs, including lectures, guided tours, and workshops.

The Museum is an organic, changing place. Although all the works seen are part of our permanent collection, in order to show the full range of our holdings - over 2,000 objets d’art - and to accommodate important temporary exhibitions, certain works must

occasionally be taken off view.

Modern Art

Modern Art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles and philosophy of the art produced during that era. The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. More recent artistic production is often called contemporary art or postmodern art.

Contemporary Art

Contemporary Art is the art of today, produced in the second half of the 20th century or in the 21st century. Contemporary artists work in a globally influenced, culturally diverse, and technologically advancing world. Some define contemporary art as art

produced within “our lifetime”. Free Admission

Come Visit Us by Appointment

Mon - Fri: 10am - 4pm Sat, Sun and Holidays: Closed

Moncada - Alcala - Bayambang National Road (Arboleda Street) San Pedro Ili, Pangasinan, Philippines

museumgallery.ph@gmail.com

Galeri Shah Alam was founded under the management of Selangor Darul Ehsan Art Foundation on 26th January 1991 and was perfectly officiated by Duli Yang Maha Mulia Sultan Salahuddin Abdul Aziz Shah on 6th July 1991.

Selangor Darul Ehsan Art Foundation was inspired by Duli Yang Maha Mulia Sultan Sharafuddin Idris Shah Alhaj Ibni Almarhum Sultan Salahuddin Abdul Aziz Shah Alhaj when he was the Duli Yang Teramat Mulia Raja Muda Selangor, where he himself has deep interest and fond of painting.

To realize the inspiration, a discussion between Duli Yang Teramat Mulia Raja Muda Selangor, YM Raja Zahabuddin Raja Yaacob (Prof. Dato’), Syed Ahmad Jamal (Datuk), Tuan Haji Mohd. Musa Ideris and Encik Kassim (Dato’ Dr.), the expert in paintings and design, museum and law was done in order to help implement Duli Yang Teramat Mulia Raja Muda Selangor’s inspiration, in planning the outline of Galeri Shah Alam function and establishment under Selangor Darul Ehsan Art Foundation .

This former Selangor’s Cultural and Tourism Office building with a traditional Malay design, was designed by Puan Maimunah Deraman in the early 1980s. Then, Shah Alam City Council renovated the building to facilitate the art activities in Galeri Shah Alam.

Other than that, the building was designed with traditional Malay design and carving precisely demonstrated Galeri Shah Alam foundation objectives. Therefore, it was in line with the efforts made to the awareness, understanding, and appreciation toward art and integration of plural society in Selangor to popularize the nation’s visual and liberal art.

Galeri Shah Alam as an art centre and tourism attraction in the Klang Valley, is located in the middle of Shah Alam city core. The beautiful building with exquisite traditional Malay art and design surrounded by the lake and recreational park added the ‘art’ value. Besides the peaceful and cosy atmosphere, it can attract more people to visit Galeri Shah Alam.

The logo was inspired from a combination of soft elements of metaphoric and typography. The logo was made from a combination of the letters “SS” which means ‘Seni Selangor’, invented in abstract formation to highlight the art and aesthetic features. It also mirrors the functions and roles of Selangor Art Foundation in encouraging the visual and liberal art development.

To specifically make Shah Alam as an Art City to popularize the nation’s visual and liberal art. To be the driving force of visual art and development activity, also variety of liberal art studies especially in Selangor and Malaysia in general.

To be the art reference for students of school, public and private institutions of higher education, and also to share experiences with the art activists especially the young generations.

To be the centre of exhibition for the painters and designers, besides as the tourism attraction.

To be the art heritage centre for the future generations.

To develop appreciation of cultural art through exhibition, poetry reading, discussion and more.

Roles of the Galeri Shah Alam

• To Establish the Gallery Permanent Collection

To acquire visual art works (drawings, paintings, sketches, sculptures, textile photography and others) from nation’s renowned artists from the early days until now as the permanent collections. The acquisition of foreign works is also made to enhance the Gallery collections.

• To Organize Exhibition

Organizing periodical exhibition by inviting nation’s artists either solo or in groups. Exhibitions by foreign artists and art institutions also being held especially to

give chances to the local community to evaluate and as a reference on art development globally.

• To Organize Competition

Art, photography and print art graphic competitions at school, institutions of higher education, district, state and national level are always held as one of the ways to develop skill and new talents in visual art.

• Art Education

Programs like painting class, sculpture, print, textile and photography for children, teenagers and adults are held in line with main role of Galeri Shah Alam in its effort to provide art education to those who are interested.

• Research and Reference

Provides reference materials for research such as books, magazines, exhibition catalogs, photos and slides, brochures related to local and foreign local art.

• Collaboration Programs

Organize collaboration programs with National Art Gallery, National Museum, State Art Museum, local art galleries, local and foreign art institutions, government and private departments, local and foreign institutions of higher education and also foreign countries to ensure art programs can be done successfully.

Clients Charter

Always ready to entertain, assist and give information to the artists, painters, art activists and art lovers.

To give feedback to enquiries regarding the collections and collections information within seven (7) working days.

Always alert to the appropriateness of the needs to exhibit.

To organize Galeri Shah Alam Open Exhibition as a permanent annual activity.

Besides additional programs such as drawing competitions, workshops, drawing classes, related seminars, symposiums, conferences, talks and talk shows also take place.

Please follow us at: www.galerishahalam.com for any info about Malaysia Art scene

Where Art Meets Coffee in Perfect Harmony Gallery Brewed Cafe:

Nestled in the bustling Robinsons Novaliches, Level 1 of the Expansion Building, Gallery Brewed Cafe by Filarts is a delightful haven for art enthusiasts and coffee lovers alike. This charming spot seamlessly blends the worlds of fine art and exceptional coffee, creating an atmosphere that is both inspiring and relaxing.

Gallery Brewed Cafe was conceived with a simple yet profound idea: to create a space where people can enjoy the finest coffee while being surrounded by the beauty of local artwork. The cafe is a testament to the belief that art and coffee share a special connection. Both have the power to evoke emotions, spark creativity, and bring people together.

As you step into Gallery Brewed Cafe, you are greeted by the warm aroma of freshly brewed coffee and the sight of carefully curated artworks adorning the walls. The ambiance is a perfect blend of cozy and

contemporary. Comfortable seating arrangements invite you to sit back and unwind, whether you are there to work, catch up with friends, or simply enjoy some quiet time.

The decor is thoughtfully designed to complement the artworks on display. Soft lighting highlights the intricate details of the paintings, sculptures, and photographs, creating a visual feast for the eyes. The overall atmosphere is one of calm and creativity, making it an ideal spot for reflection and inspiration.

At Gallery Brewed Cafe, the coffee is as much a work of art as the pieces on the walls. The cafe prides itself on serving high-quality brews made from carefully selected beans. Whether you prefer a classic espresso, a creamy cappuccino, or a refreshing iced latte, there is something on the menu to satisfy every palate.

The baristas at Gallery Brewed Cafe are passionate about their craft. They take great care in preparing each cup, ensuring that every sip is a delightful experience. The menu also includes a selection of teas, smoothies, and delectable pastries, making it a perfect spot for a light snack or a leisurely brunch.

One of the standout features of Gallery Brewed Cafe is its commitment to showcasing local talent. The cafe regularly hosts exhibitions featuring the works of Filipino artists. This not only provides a platform for emerging and established artists to display their creations but also allows visitors to immerse themselves in the vibrant art scene of the Philippines.

Each piece on display tells a unique story, reflecting the diverse cultural heritage and contemporary experiences of the artists. From striking abstract paintings to evocative photographs, there is always something new and exciting to discover at Gallery Brewed Cafe.

Gallery Brewed Cafe is more than just a place to enjoy great coffee and beautiful art. It is a community hub where people can connect, share ideas, and be inspired. The cafe often hosts events such as art workshops, live music performances, and book readings, creating a lively and dynamic space where creativity thrives.

The friendly staff and welcoming atmosphere make everyone feel at home, whether you are a regular patron or a first-time visitor. Gallery Brewed Cafe is a place where conversations flow as smoothly as the coffee, and where each visit is an opportunity to experience something new.

Gallery Brewed Cafe by Filarts at Robinsons Novaliches is a charming and unique destination where art and coffee come together in perfect harmony. It offers a serene escape from the hustle and bustle of daily life, providing a space to relax, reflect, and be inspired. Whether you are an art lover, a coffee aficionado, or simply looking for a cozy spot to unwind, Gallery Brewed Cafe is sure to delight your senses and lift your spirits.

Palm Artspace is a contemporary art gallery devoted to cultivating a genuine appreciation and passion for both Vietnamese and international arts. Its vision embraces a wide spectrum of creativity, ranging from traditional works rooted in heritage to bold contemporary expressions that push boundaries. Established by Vietnamese visual artist Dang Tuan, the gallery is nestled in the midst of lush greenery, offering visitors not only an artistic experience but also a serene environment that enhances reflection and inspiration.

Beyond being a showcase for art, Palm Artspace serves as a dynamic cultural hub. It regularly conducts workshops designed for the young and the young at heart, encouraging creativity and hands-on engagement with artistic practices. The gallery has become home to diverse exhibitions, featuring both local and international artists whose works span painting, sculpture, and experimental media.

Its walls have been graced by the creations of emerging talents alongside established masters, making each exhibition a vibrant feast for the senses. Audiences from varied backgrounds flock to Palm Artspace, drawn by the promise of discovery and the opportunity to witness the evolving narrative of visual art. The gallery is particularly dedicated to presenting artists who have brought esteem to Vietnamese art, perfecting their skills in traditional media while also exploring new directions.

Palm Artspace provides fertile ground for experimentation, nurturing bold and innovative voices. “With Palm Artspace, we have given a space to artists who are bolder and more experimental in their creative pursuits. Their artistry could be described as contemporary, but we could refer to them as the ‘Millennials’ in Vietnamese art, ” reflects its mission.

Located at 188A Thao Nguyen Ecopark, Hung Yen, Vietnam, Palm Artspace continues to stand as a beacon of creativity, dialogue, and cultural exchange.

Japanese heritage since 1928.

2/F DRE Building, 958 P. Ocampo Sr. Street, Malate, Manila ,

2/F DRE Building, 958 P. Ocampo Sr. Street, Malate, Manila ,

Store Hours: Mon – Sat: 8:30 AM – 5:30 PM (closed on holidays)

Store Hours: Mon – Sat: 8:30 AM – 5:30 PM (closed on holidays) The best-selling craft paint worldwide.