New Gallery

Born in 1976 pasay city. exhibited his paintings at EXPO 2000 Hanover, Germany
a project to help the poor south african children.

Solo Exhibitions

1997 south sea masterpieces Badian Island beach hotel , Cebu philippines
2000 the second journey art center cebu
2003 Syano artlink manila
2003 the art of anthony fermin Negros museum Bacolod City
2004 Galak ng paglalaro Museo pambata Manila
2004 kasadya one luna gallery libis lifestyle center quezon city
2005 the harvest Gallery Twenty-Four Berlin Germany

Group Exhibitions

2005 INTERNATIONAL ARTIST ASSEMBLAGE EXHIBITIONS Gallery Twenty-Four Berlin Germany
2000 Expo 2000 Ostrich egg exhibit project to help the poor african children,. Hanover, Germany
2005 Parfund Christmas Card project to help and support the schooling of farm workers’ children
2005 Menoppose: art for a cause to help and support the woman who are victims of prostitution.
2000 the second journey exhibit in cooperation of Rotary club of cebu fuente.(for community project)
Projects

2000 children of south africa project to help the poor african children with the support of nelson mandela foundation hanover, germany
2000 second journey exhibit in cooperation with rotary club of cebu fuente(for community project.)

fermin's brush with flight
Anthony Fermin
Fermin's brush with flight
The following is from an article by Jessica Jalandoni-Robillos in the Philippine Daily Inquirer of Monday August 23, 2004:
Once, Anthony Fermin trained to be a pilot. But he changed his flight plan and made paintbrushes fly across empty canvases. His strokes now mimic the movement of winged creatures. Sometimes flitting like birds, other times like butterflies gliding gracefully, awash with colors.
The result - pieces lively and effusive, like his other works showing festivities or children at play. His latest collection, in a show with Karla Gobin at the Food and Art Galerie in Makati, consists of acrylics and watercolors that explore the frolics of the young.
"Alibangbang" is a peep through what look like massive tree trunks, one of them strangely translucent, through which an orb can be seen. In between the trees is a pond that reflects the shapes of two girls trying to catch butterflies with a net. The orb seems [to be] the moon, bathing the clearing with light.
Arcs and dabs of color, from yellow and green to red and dark blue to violet, serve as the backdrop. Reminiscent of Russian painter Marc Chagall's expanses of swirly dark splashes, as in the piece gifted by Julia Roberts' character to that of Hugh Grant in the movie "Notting Hill."
Fermin, however, has become increasingly fond of using brighter hues even if he says he identifies with purple. Though the aubergine tone in its darkness connotes [a] nadir for most, Fermin contrasts this with yellow as his zenith. Yellow represents his dreams.
Symbolic color
In this sense, he shares Chagall's ability to utilize symbolic color. They may be non-descriptive, like his green, gray and orange skies but they convey gaiety nonetheless. Fermin's works invoke the recollection of games once played, as if to say no childhood passes without carefree, time and fatigue-oblivious activities. The same way Roberts' character was moved to say of Chagall's piece: "It feels like what love should be..."
Fermin admires Picasso, whose style inspired linears and angulars in some works of Chagall. Although the constantly raised arms of Fermins subjects is also a feature ofthe Russian icons, the parallelisms end there. There is no similarity in figuration, except perhaps in the former's earlier works.
In "Jumping Rope," movement is effectively shown in the direction of the brush, the curved rope echoed by arches of color that appear smoothly smudged. Buildings in the background are tall and shingle-roofed, testament to Fermin's memories of Europe.
In 2000, Fermin [headed] off to Germany with the earnings from a show in a Cebu beach resort and the help of a German patron. His main purpose was to visit an uncle. Fortuitously, from being inspired to paint by Europe's grand architecture, landscapes and rich history, he went on to represent the Philippines in the Expo 2000 Honover Art Exhibition.
Trips to France and Spain have afforded him greater exposure, buttressing his art.
In Hanover, his rendition of an ostrich egg gave him the chance to help South African children through the Nelson Mandela Foundation. He hopes to do the same locally, alleviating the lives of needy Filipino youth through his exhibitions - the nexus of his purposely naive art.
Fermin has a solid following in Cebu, where he resides. He has captured audiences in Europe and is exhibiting in Manila and Negros. Perhaps with the art that he creates continuously and tirelessly, his flight, with the ideal of promoting art and culture has reached it's destination.
The Food & Art Gallery is at GT Tower, Ayala Avenue, Makati. Call 02 752 5678
the author at: jejaro2002

The guileless art of Anthony Fermin
First posted 10? (Mla time) June 05, 2005
By Lito Zulueta
Inquirer News Service

Editor's Note: Published on page D1 of the June 6, 2005 issue of the Philippine Daily Inquirer.
THERE is no guile in the works of Cebuano artist Anthony Fermin. His new show, "Kasadya" (at the One Luna Gallery in Eastwood starting tomorrow), is a collection of typically joyous Filipino scenes in joyous colors that somehow paint the mood and sensibility of an artist who is unabashedly optimistic. It is tempting to call his art "naif." At the least, it can be called guileless and unpretentious.
The clue is in the title of the exhibit. Kasadya is Ilonggo for "masaya" or "happy." "Happiness is every people's dream," Fermin said, who seeks to record the happy scenes he has seen during his tours of Negros Occidental in the new show. For such a temper, it is predictable that the colors the artist uses are yellow and bright. "Most of my paintings have yellows signifying my dreams," he added.
We don't know about the dreams, but the scenes he paints are quite concrete and not exactly ineffable or nebular. His scenes of cockfights may lack the grim and grime of the cockpit
they render the excitement and the pandemonium in brushstrokes that are spontaneous and playful.
It couldn't be otherwise. Despite his seeming proclivity toward the sabong (cockfight), Fermin seems temperamentally more attuned to play and celebration of the more innocent sort. His is a childlike sensibility that is not dampened by sobering news. He is unfalteringly bright. The sense of optimism could be quite infectious, as in "Kite Papano" and "Playground."
But Fermin is also capable of other less "infantile" scenes, such as his fond take on the guitar industry in Cebu in "Guitar Making" and his quirky portrayal of the informal sector in "Backyard Business." In these and other works, the familiar Fermin figures hovering over the canvas like Chagallian spirits are there, rendered in cartoonish lines but merry colors.
Only 29, Fermin is either too young for pathos or too old for optimism. One may complain that his works are too bright, too positive. It may be that such a rich confection is almost numbing, yes, but again and again, he shows it is the artist's task to celebrate.
Anthony Fermin's "Kasadya," an Artery production, runs from June 7-27 in One Luna Gallery, One Luna Lifestyle Center, Eastwood, Libis, Quezon City. Call 8622246 0928-2188516.

Art must be alive , it should entertain and elevate
the spirit ,most of my work defines a story of people
and places I see everyday.

To Nunelucio Alvarado, who lives and paints in his hometown in Negros, the plight of the people in the sugar industry, particularly the plantation and mill workers, along with their families, is "a never-ending story." It is, with all its "strength and pathos" (as a Japanese curator recently described the content of his work), his "favorite subject matter," the Ilonggo artist says.

Without needlesly repeating himself - a tribute to the dynamism of his symbolic art, at once surreal and expressionistic - Alvarado, now 51, has actually been telling that story on canvas since he was 25, when he was initiated into the gallery scene in Bacolod City at a group exhibit. He does so not as a disinterested observer, but as a community-immersed artist who articulates for the downtrodden their muted aspirations for a better life, a role enhnaced by his membership in several Ilonggo artists' organizations, notably the highly politicized Black Artists in Asia.

In his most recent exhibit "Field Trip" last November 2001, he has completely relaxed the clenched fist that has punctuated, rather salutarily, the sociopolitical statements that he wants to make on canvas. The effect cannot be painless, even idyllic, excursion into virtually another pictorial landscape, awash in brilliant colors and occasionally endowed with the artist's signature symbolic motifs.

A painting major from UP Diliman, Alvarado--who hails from Negros Occidental, has been active on the art scene since 1975. He has, to his credit, a long list of individual and group exhibits, in the Philippines and abroad. He has received the 13 Artists Award of the CCP and was twice a winner of the grand prize, Philippine selection, of the regional Philip Morris Art Award. Until "Field Trip", Alvarado had, of late, been working on large canvases, the last time being with the highly ambitious "Tagimata," a 20 piece collection dominated by a giant mural.

Alvarado makes no bones about the flightiness, in concept as well as intent, of "Field Trip." As the title of the collection suggests, what the has come up with are painting--i.e., passing scenes and images--that are meant to divert.

Born in 1950 in Pabrika, Negros occidental, Alvarado took up advertising at La Consolacion College in Bacolod City and, later, painting at the University of the Philippines in Diliman. His appearance in group shows, in Bacolod and Manila, perceeded by several years his first solo exhibit, at the now-defunct Sining Kamalig in Pasay City in 1979. To date, he has had numerous individual and group shows, the latter including those in Australia and Japan.

Just as you were asking if Social Realism today is dying or dead - in fact, plans to reprise some of the best from the martial-law era in a forthcoming group show may be a sign of its demise - two of its mainstays have been making waves anew in recent weeks. Antipas Delotavo (b.1954) romped away with a grand prize in Philip Morris’s Philippine Art Awards 2000, which closed Sept. 30 at the Metropolitan Museum, even as Nunelucio Alvarado (b.1950) was set to launch a major solo show of new and recent paintings in the same venue the following week (through Oct. 31).

Both, incidentally, represent the extreme ends of the SR scale. While Delotavo respects the traditional rendering of the human figure and remains underwhelming in his social comment, Alvarado overpowers by radical means, re-forming and transforming natural appearance to a surreal degree to match the violence of his themes.

Based in the island province of Negros (hence the name of his SR group, the Black Artists of Asia), Alvarado has never ceased bearing witness to social injustice and human-rights violations. As the Met show attests, he has continued to do so well into the ’90s when his craft of sullen art reached a pinnacle of eloquence seldom seen hereabouts. What’s more, the intensity of his protest art continues to be that of an angry young man in the face of issues not having changed in three post-Marcos governments. Going by his latest perceptions of the marginalized migrant, or sakada, peasant masses in his home province, their sorrows under a neo-feudal system seem to have taken a turn for the worse. The title of his new show, Tagimatá (Ilonggo for "Eyesore"), hardly does justice to their discontent.

Over the years, he has developed a symbolic/surreal imagery built around the sugarcane, the crop which serves as both source of livelihood and scourge of the peasant class. The cane, not as recognizably obvious as before, is treated more subtly, more abstractly. It is cut up to comprise a bed of sharpened stakes in his most gut-wrenching work to date - the show’s centerpiece, Fuerza [Force], a mural measuring 12 x 18 feet - on which the son of a sakada couple, bound by his own serpentine umbilical cord, lies on a bedrock of red nails. You can tick off the symbolic specifics of victimization all over this mural: pincer-like hands grabbing the mother’s breasts, dagger and bullet striking the father’s shoulders, the crimson-veined fists of both parents who resemble sphinxes clutching green reptiles signifying their master’s greed. In one corner, the urban high-rises evoke a history of capitalist culture thriving on the backs of the poor.

Alvarado’s "eyesores" come across with their strongly centered com-position, dynamic distortion, in-cisive drawing - and an obsession with pairs of images arranged in symmetrical balance. The figures are crisply articulated with the simplicity of playing-card characters. Sleek, tubby bodies buffed to a metallic sheen, long, tapering tongues, and alligators with open mouths are among the images defining the demonic aspects of his corrosive wit and black humor more than ever before. Particularly hallucinatory are those in which the bestial and the human fuse, as in a reptile morphing into a man’s hand. Colors in their maximum intensities (aggressive reds, biting blues), more emotive than descriptive, correlate with the agitated forms in the never-ending struggle of the peasants against their entrapment. Even as his canvases echo with street cries of "Neocolonialism! Imperialism!" once heard in the Marcos era, Alvarado creates a world of his own with signs and symbols that help you distinguish the oppressed from the oppressor with relative ease, as in a zarzuela, though his cueing technique occasionally tends toward the formulaic, like the wide gator smiles identifying the avaricious and the lecherous.

Bulag [Blind] encompasses virtually all the terms of his visual vocabulary: cane crosses, nails, spikes, bullets, knives and arrowheads, wide-open, saucer eyes, skulls, claw hands and tongues hanging out; snakes, crocodiles, dogs. Center of interest is a capitalist couple looking sinister in dark shades - a jewel-bedecked socialite wearing an upside-down crucifix and carrying a handbag, beside her mustachioed spouse with a walking stick made of (what else?) cane stuck into the mouth of a wretched beggar crouching beneath him. Allusion to neocolonial mentality in cahoots with pious hypocrisy sticks out in the lurid caricature this painting is.

Many of his symbols derive from Christian iconography, with ingenious variations of his own. Gomburza sa Hacienda presents a peasant nailed by cane spikes to an invisible cross, iron thorns crowning his cadaverous head, and eyes glaring blankly like a spook’s in a world of cut cane set against a bloody sky.

The plight of the sakada takes a heavy toll on children. In Crossing, a child is nailed to a cane cross with a symbol of greed, the crocodile, beneath it, and a phantom skull filling out the entire background. The same emaciated child is carried by its mother, standing erect and tearless, in Blue Baby, a parody of the pieta icon. Most memorably, an infant in Dagit snatched by an abstract bird of prey represented by a circle of feathers is as much a victim of feudal capitalism as its parents who sit passively at the center of the circle with coins for eyes and mouths taped by the dollars of that wicked hawk, Uncle Sam - as if the U.S. military bases had left the country only to be replaced by another greater monster responsible for worsening mass poverty: globalization.

Alvarado’s Social Realism is not confined to the woes of the peasantry; it includes a whole slew of other sociopolitical concerns outside the world of the hacienda. Aswang refers to the pallor of all-night mahjongg players; "Murto" to the ghost employees of provincial government who materialize only on each payday. Several others refer to drug and nicotine addiction, prostitution, military abuses.

By themselves, these works are arguably less successful than those that have to do with martyrdom in the fields of bad dreams. The issue of corruption in high places is clearly effective in Brown Envelope, with its calendar Christ and a portrait of President Estrada hanging behind a faceless authority figure in barong about to receive a bribe under the table. Not so the meaning of a burning rubber sandal in Ebidensia, which becomes a piece of evidence of a brutal "salvaging" only when seen in the context of other works depicting militarization.

Compared to his evocatively complex hacienda paintings, his satirical purview of other ills besetting Philippine society may strike some viewers as over the edge. Bordering on the gauche is a bordello transaction in Mama Sang, where the fat lady in Bulag reappears as a madam consorting with a roly-poly Uncle Sam and pointing to the silver coin he flaunts. The images beneath them may be a bit explicit rather than suggestive - copulating canines, phallic cigar, condom sucking in a figure - but these emblematic "footnotes" are downsized rather than played up.

Satire is more imaginatively served in Ang Mahal nga Hari [Beloved King], a mutation of an overlord in boots, arms upraised in the shape of a heart which, in turn, encloses an oversized bullet, while two minions kneel before him with hypodermic syringes hanging over their heads. What it clearly indicates: narcotic power as instant fix to misery and potential rebellion.

In Philippine Delicacy, plump, nubile women in the flesh trade are laid out like sticks of barbecue with the central figure standing vertically across them. A tiny Philippine flag stuck on her nipple, not to mention a Valentine-heart patch covering her private parts, is typical Alvarado overkill. In his feminist mode, though, I can’t shake off the odd feeling that the artist has his tongue in his cheek, more in collusion with, rather than against, macho attitudes toward the fairer sex. A case in point is All the Way, spotlighting a stripper on a table before a horny, all-male audience. Of incidental interest in this and some other canvases is the partial use of a literal approach - something new in Alvarado’s art - in recreating money, an ID card, a calendar picture of Christ.

Although the agony and the rage remain as the constants of its vision, Tagimatá eschews sensationalism by his precise, astringent stylization of figure and scene. The controlled energy that informs his imagery and thematic purpose is enough to pack a retinal wallop to stop you in your tracks.

As bonus, Alvarado is also showing eight paintings from his Philippine Centennial show of 1998 in a separate space at the Met, just as potent in concept and form as the 21 Tagimatá oils. All together, they represent a consistently linear chain of development without a weak link in it.

Given the magnitude of artistic effort involved, and the high cost of its production on the part of Hiraya Gallery, which organized it, it’s a shame that Alvarado’s most compelling achievement to date should run for only three weeks when it clearly deserves a longer engagement of, say, three months so more visitors can see it. After all, how often does something of this caliber come to the Met? Let me say this in no uncertain terms: his is the most visually and mentally gripping display of creative intelligence I’ve seen in decades - and a giant step that takes Alvarado closer to greatness.

by Alice G. Guillermo

Today's Weekender . July 9, 2000 (No. 369)



The myth of rural idyll never found congenial ground among the artists of Bacolod, capital of Negros Occidental. Instead of the familiar landscape of rice paddies, the province is given over to the monocrop of sugar cane in vast plantations owned by a handful of elites.

Not a land of sweetness and life as Amorsolo untiringly evoked, Nunelucio Alvarado’s Bacolod is fraught with dark shadows and sinister presences against passages of blazing light in a harsh landscape. More than anywhere else, contrasts have been stark since the sugar industry was established in the province with the first sugar mill put up in the 19th century by the English entrepreneur Nicholas Loney. That was also the time when the country’s ports were thrown open to international trade marking the beginning of cash crop agriculture.

These times and conditions, past and present, make up the imagery of Alvarado, who is holding his latest show at Hiraya Gallery. His art draws its dynamism from the conflicts and sharply delineated class lines in his home province that has often been described as a smoldering social volcano. Seeking big economic opportunities in sugar, the landed elites converted their rice lands to sugar-cane plantations. In the midst of this rural landscape were built their mansions of wood and stone, with their sliding windows of capiz shell overlooking the large tracts of land leveling all around, even as far as the horizon. But out in the fields the peasants then and now have labored in planting endless rows of cane or in harvesting them with their broad espading with its hooked blade the tall rounded stalks which they carry in bundles on their shoulders to the trains headed for the sugar mill.

Alvarado developed an iconography based on indigenous folk beliefs and traditional symbols which he integrated into contemporary themes and issues, resulting in works of high visual impact. Unlike other artists of similar orientation, Alvarado did not choose to work in a realist or classic style. In his personal idiom, the human figures are squat and angular, their muscles well-articulated to convey strength in agricultural work and closeness to the earth. Their eyes are intense, with a clear penetrating gaze.

Their vivid coloring imparts vitality and expresses strong emotion. Without doubt, the opposition to classical form inheres in the subjects themselves, the farm workers and sakadas of Negros who, needless to say, are the antipodes of the aristocratic and idealized Apollos of classical art. The folk quality of the style and what it conveys of essential humanity and authenticity is eminently suitable to the subjects, at the same time that it implies the identification of the artist himself with the peasant folk.

Alvarado’s most recent show of watercolors entitled Palagpat (Uncertainty) brings his concerns up to the present. As in his earlier Tiempo Muerto series, he depicts the entire range of Negros society in horizontal rows of highly individualized figures. Far from being historical or stereotypical characters, they possess distinctive features that suggest their life principle, at the same time that they carry with them the atmosphere of the times. The issues that are posed are mainly those of the present political dispensation, thus bringing out the fact that Negros province with Bacolod, its capital, is not an insular and isolated locale but is sensitively affected by the tremors on the national level. Indeed, the title of the series itself captures the malaise, indeterminacy and lack of direction, the wanton waste of human and material resources in the absence of clear objectives.

In these works, satire as the dominant tone is directed to the officials in power as well as to those who perpetuate ignorance and corruption. Class polarities are not simply depicted on one place in a confrontational manner between antagonistic camps, but rather on two levels. For often, behind the brightly colored characters are half-glimpsed figures in gray tones. Contrasts in scale, small and large, also suggest the prevailing system of power relations.

In Tikal Tikal Waay Man (Blustering Without Substance), the upside-down shadowy beasts carrying guns suggest covert military rule. Lording over the scene, a large green face, its eyes shaped like a theater marquee featuring a reclining nude, extends its curling tongue to twist and strangle the head of a lesser official to tip the balance in favor of crony interests. He is flanked on one side by a worker giving the finishing touches to a relief of the presidential seal and on the opposite side by a sakada with his espading standing threateningly by. A number of elements allude to show business and folk festivals in their role as purveyor of illusion. At the center is a dancing clown, one hand down the other up, signifying inconsistency and lack of sobriety in leadership.

Other works such as Dragon Lady and Believe It or Not allude to specific figures and issues in the national scene. An intriguing subject of late, for instance, was a particular official wielding extraordinary powers. Her large face in unnatural hues with a green dragon printed on her cheek is depicted upside down, against the tenor of ordinary life. Gambling, deceit and prostitution are rife with casino kings visiting the country.

Cory in My Arms refers to a notorious vigilante chief with a bleeding heart tattooed on his arm. Meanwhile, one catches a glimpse of Uncle Sam and even Japanese samurai making the scene.

At the same time, the violence simmering just below the surface is evoked by the figure of a faceless marine flaunting his armalite surrounded by flying forked tongues in the guise of pinkish flowers, a sly comment on credibility. A people’s protest rally is met by police carrying shields emblazoned with spiked clubs. In response to all these, Ang Imo Katapusan (This is Your End) shows a disembodied and fleshless hand from the outside, perhaps from the grave, come to seek retribution and mete judgment on the corrupt: the pimps and prostitutes, spies, murderers and peddlers of imperialist interests (the American flag is displayed like a holy icon on a pushcart). The hand, its nails grown into hard spikes and its thumb broken off, possibly symbolizes the spirit of protest which survives even beyond the pale of individual physical existence. It is shown as about to begin the punitive gesture of clawing the characters from the page into a gray and nameless void.

Although exhibiting in Manila, Alvarado generally prefers to entitle his works in the Ilonggo tongue of Western Visayas in order to retain local color and to bring in the flavor of Ilonggo, which has a characteristic lilting and amorous quality in relation to the more straightforward Manila Tagalog. Moreover, in these recent works, an innovation consists in textual elements that form border designs in terms of humorous and satirical comments in highly idiomatic street jargon. The artist engages in punning and other forms of word play which combine Visayan, Spanish and English elements that are a colorful part of the local culture.

Alvarado’s art is up to the minute in its grasp of national issues and events. Always exciting and innovative, a great part of its appeal stems from the artist’s immersion in people’s lives, his keen political consciousness, and his combination of acerbic satire and street humor, but always with an underlying tenderness for his province and its sugar-cane workers in struggle. As the artist stresses, "While this unjust system prevails in our country, artists will always continue to produce meaningful works.

1950 born in Pabrika,Sagay City, Negros Occ, Oceania

Lives and works in Pabrika, Sagay City, Negros Oc,

Education

University of the Philippines (College of Fine Arts)-Diliman
Advertising,La Consolacion College School of Architecture and Fine Arts,Bacolod City

Solo Exhibitions

*Simple Living, Elizabeth Mall Art Gallery, Cebu City, 2005
*Join sa ALVARADO, Turtle's Nest Gamay'ng Gallery, Cebu City, 2005
*Alvarado, Gallerie Andrea, Intramuros, Manila, 2005
*Lonely Table, Penguine Café, Malate, Manila, 2005
*Birada, Synaesthesia ArtGallery, tacloban City, 2005
*Daily Bread, Hiraya Gallery, Ermita Manila, 2004
*Paintings&Drawings, Bunga Art Gallery, Pabrika, Sagay City, Neg. Occ., 2004
*Kansiaha, Kulay Diwa Art Gallery, Sucat, Parañaque City, 2003
*Nami, L’Fisher Hotel, Bacolod City, 2003
*LoloLola, West Gallery, Mandaluyong City, 2003
*Alvarado at Luna-Luna Art Collective, Cebu City, 2003
*Lust, Big & Small Art Co., Manadaluyong City, 2002
*Fieldtrip, Hiraya Gallery, Manila, 2001
*Namit-Namit, Galleria Duemila, Mandaluyong City, 2001
*Tagimata, Metropolitan Museum of Manila, 2000
*Palagpat, Hiraya Gallery, Manila, 1998
*Kusog kag Kaisog, Hiraya Gallery, Manila, 1998
*Gahum ni Alvarado, Hiraya Gallery, Manila, 1998
*Katahum, Galleria Duemila, Mandaluyong City, 1997
*Tiempo Muerto, Galleria Duemila, Mandaluyong City, 1994
*Bulante, Small Gallery, Cultural Center of the Philippines, Manila, 1991
*Gilok, University of the Philippines-Visayas, Iloilo City, 1990
*Kawsa, La Consolacion College-Gallery, Bacolod City, 1987
*Kasimanwa, Galeria Andrea, Intramuros, Manila, 1984
*Hala-Lupad, Galeria Juan Sebastian, Bacolod City, 1983
*Kaupod, Hiraya Gallery, Manila, 1982
*Kababayehan sa Uma, Heritage Art Center, Quezon City, 1981
*Welcome to your Nightmare, Manila Peninsula Hotel, Makati City, 1980
*Hampang-hampang lang ‘ni pero tu-ud tu-od, sining Kamalig, Pasay City, 1979

Group Exhibitions

SELECTED GROUP EXHIBITS
*Art is Tourism, Bunga ArtGallery, Pabrica, Sagay City, 2005
*’Halige’ Pintor Kulapol, Bunga ArtGallery, Sagay City, 2005
*Ugyon sa Bulan sang Taliambong, Bunga ArtGallery, Pabrica, Sagay City, 2005
*Lousy Painters, Syano Artlink, Better Living, Parañaque City, 2004
*Ragak, Art Center, Mandaluyong City, 2003
*Haplos, Syano Artlink, Better Living, Parañaque City, 2003
*Dagsa, Syano Artlink, Better Living, Parañaque City, 2002
*Hardware II-Vargas Museum, University of the Philippines, Diliman, Quezon City, 2002
*Kadugo, Big & Small Art Gallery, Mandaluyong City, 2002
*Art for Street Children, Hiraya Gallery, Manila, 1999
*Surreal Preludes, Le Souffle at the Fort, Taguig, 1999
*Alab ng Puso, Metropolitan Museum of Manila, 1998
*VIVA EXCON V, CAP Art Center, Cebu City, 1998
*Land of Want, Land of Plenty, Australian Center, Makati City, 1995
*Art Alliance (with George Gittoes), Australian Center, Makati City, 1994
*Black River (with George Gittoes), Canberra Contemporary Art Space, Australia, 1993
*Black Artists in Asia, Alliance Francaise de Manille, Makati City, 1993
*Terra non Terra, Cultural Center of the Philippines, Manila, 1992
*VIVA EXCONI, La Consolacion College, Bacolod City, 1990
*Collaboration (with George Gittoes), Sydney/Melbourne, Australia, 1989
*Images of Continuing Struggle, Art Space, Sydney Australia, 1989
*Art Attack, La Consolacion College-Gallery, Bacolod City, 1988
*Piglas: Art at the Crossroads, Cultural Center of the Philippines, 1986
*Mga Batang Negros, Hiraya Gallery, Manila, 1985
*Art Association of Bacolod, Galeria Buglas, Bacolod City, 1975