Nile Pobadora Time Lapse Opening




June 12 is significant, not because it’s so called “Independence Day” and there’s miraculously no traffic. It was momentous rather for Nile’s debut exhibit of pen & ink acrylic drawings based on found photographs then modified into an imagined narrative.


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NILE POBADORA 1st Solo Exhibit Time Lapse

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Photographs are paradoxical in that they are taken in a flash, but the time spent looking at them may take an eternity, that the pictures that bear testament to these moments that are captured outlive the subject and the place where they were photographed.  And that is the very appeal of photographs, the  seduction, fascination and charm of it all. It is also a time-travelling device where place and time can be in a state of infinite loop, in a stasis, in an instantaneous median between past and present. A time lapse of eternity :

It is you in instaneity.
It is you in eternity.
In full becoming,
You in the flow of time.”

  • Cendrar

As though to look at photographs is to gaze at infinity, and to meld with it, to acquiesce with another reality and appropriate the glimpsed at narrative as one’s own as exemplified in Nile Pobadora’s  ink and acrylic drawings for his first solo exhibit Time Lapse,  whose image sources were from a neighbor’s cache of old photographs that were intended to be thrown away for their unfamiliarity.

Rendered in muted wash of gray and inky black denoting the fading of details into generic impressions of a landscape or a room, with the figures starkly drawn in blue with a ballpoint pen make these images all the more strange, distanced, afloat somewhere between here and now, easily tansportable from personal memory to collective data bank, from an intimate keepsake to an idiomatic pictograph, or a visual shorthand for nostalgia, a borrowed one at that, poached and reconstructed narratives to weave further stories, that will eventually bind everything into the great big story of humanity.

Nile Pobadora earned his BFA degree in Advertising from Far Eastern University. Since 2005, his works had been featured in a number of group shows in notable art spaces such as Pablo, Crucible and Blanc, and in CCP for the exhibit Ano Ba Yan? organized by Tutok in 2011, while garnering an Honorable Mention for his entry in the 35th Shell National Students Art competition in 2002.

Time Lapse is his first solo exhibit.

Time Lapse will be opening on the 12th of JUNE  6pm and will be on view until July 4, 2015.

Nicolas Combarro’s Interventions (Opening Night)


As part of the week-long micro festival of photography Foto Semana organized by Thousandfold, Pablo played host to visiting photographer Nicolas Combarro’s exhibit Interventions.

Here he is with Meryll Soriano who has also published a photo book Playground London produced and published by 5 Ports.


The opening was highlighted by an artist talk where Nicolas expounded on his process and impetus for creating his photographs of architectonic tableaus, citing Russian constructivist El Lissitzky as one latent influence, aside from his many travels abroad where he has documented structures (whether  improvised or so planned) abandoned in terrain vague landscapes.

Here he is with Wawi Navarroza, Thousandfold founder and festival director.


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Nicolas with our gallery interns Marvin & Paula from Kalayaan College



Petals & The Evergreen (the works)

Petals and The Evergreen is a parallel meditation by Jay Yao and Olivia d’Aboville on the fragile and austere exquisiteness of nature.

Jay Yao posits a series of photos of a coniferous tree he has taken  and the process by which he undertakes them as a form of Haiku, invoking the Japanese idea of negative space or “Ma” : “In haikus, the simplification of words, encourages the viewers to create their own narratives. The reader is forced to create meaning due to the few words within a haiku. As an art form, the camera is the closest tool a person can use to archiving reality, and while a single image is usually seen as documentary evidence, as viewers we can’t help but create our own personal narratives once two or more images are grouped together.

While documentary evidence of the tree is presented to the viewer in a clear visual manner through the photographs, the arrangement of the works within the installation and the space between the works creates further internal dialogue.”

Recycling and up-cycling plays a big part in Olivia’s artistic approach. For her pieces in Petals and The Evergreen, she transformed an existing large scale tapestry of hers into new individual smaller light boxes.

For 3 months, she gathered discarded orchids and lilies from the Manila Peninsula Hotel and carefully dried the thousands of petals. The process was laborious and repetitive, consistent with her usual practice.







Jay Yao (Jose Campos III) was raised with one foot in Vancouver, Canada the other in the Philippines. Yao did his thesis photography exhibit on Canadian-Asian identity at Hampshire College. After college Yao moved to New York to further his skills as a photographer.

Yao has had solo exhibitions at Hiraya Gallery (Manila), Museum Pambata (Manila), Silverlens (Manila), Tixe Artspace (New York), and quite recently in Celestina (Manila). He has been sponsored by the Canadian and Mexican embassy on numerous occasions. His group exhibitions include “New Natives”, Lightbombs (Hong Kong), and “Art Connexions: SYD – MLA – KUL” at the Australian Center of Photography (Sydney).

In 2005, Yao represented the Philippines for the Goethe-Insitut project “Art Connexions: SYD – MLA – KUL.” Yao’s “Homecoming” series was nominated and short-listed for the Ateneo Art Awards in 2014.
He currently lives in Manila.

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Olivia d’Aboville is a French-Filipino artist who graduated with honors from ESAA Duperré in Paris in 2009. In her work, she explores the relationship between the organic and the synthetic in both aesthetic expression and in her choice of materials. Her artistic vision is rooted in her rigorous and unconventional approach to textile techniques and her commitment to using recycled or up-cycled materials to address concerns about the environment.

D’Aboville has exhibited in museums, galleries, hotels and festivals in Paris, Lyon, Hong Kong, Manila, NY and Singapore. Her works range from textile jewelry, to sculptures, to lighting designs and installation art.

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Mike Crisostomo : Rocky Mountain High opens on April 28 at Post Cubao X


Rocky Mountain High was penned by John Denver as a homage to the snowy mountains of Colorado which he had been very fond of. Typically folksy in a jangly strumming, it’s also an ode to a solitary activity of climbing up a mountain and being overwhelmed by the spectacle of a panoramic view of nature, or scaling the heights of the sublime as we tend to associate representations of nature, of vast landscapes, and trekking up heights to take in all this magnificence as the sublime, taking after romanticists in their eternal quest for the total ideal beauty in the boundless magnificence of nature, and to create as spurred from this awe.

When sir George Mallory was asked why climb Mt. Everest, he curtly replied “because it’s there “. To ask a painter why paint, the reply may equally be terse as the question is elementary : “because it has to be painted”. For Mike Crisostomo, the answer veers on the more topical : “because the canvas is blank.” And he proceeds to fill them up with views of shapeless mountain mass, of landscapes, of dirigibles hovering over ranges of flora and swathes of green fields. We see them as these landforms for the patterns that hint at their forms. Nothing much is added to indicate their specificity, as those would only be superfluous in representing them, that a mountain by any other name is but a mountain, or a mountain is a mountain is a mountain just a rose is a rose is a rose, just as a painting of a mountain is a painting of a mountain. To render them in their barest is to get at their purest form, to seek their essence in the immediacy of viewing them.

Most of the time this task though seemingly simple, is one that entails more struggle as to seek this vision is a solitary activity as painting is very much a hermetic exercise in creation, reinforcing the cliché of the tragic-heroics of the painter/artist ever wrestling with the production of a masterpiece. Mike Crisostomo inserts that reference through a small portrait of Ken Watanabe, a Japanese actor known to play tragic-heroic characters in films that have him staring at something so abominably colossal (in Godzilla), or the wabi sabi poesy of a bowl of shoyu ramen (in Tampopo). To merely function as a direct witness to awe and terror was his characters’ sole value, midway through these films, they would be killed off. Or their tragic endings wrought by their own undoing – of merely choosing to gaze, to marvel at such spectacle. John Denver went beyond climbing mountains to fly 2-seater airplanes to see more of the sky and the fields and the mountains. In 1997, on one of his solo flights, he crashed his plane in a bay in California, as Icarus had fallen into the sea of Samos.

“Continue climbing to the top but nobody knows where the top is” (Jiro Dreams of Sushi)

Mike Crisostomo (b.1975, Manila) studied Fine Arts at The University of The Philippines and was into corporate managerial work before doing production design and graphic design which eventually lead to focusing on art with themes that revolve around sublimating Sci-Fi utopian/dystopian visions through painting and photography. He’s also part of the collab project The Weather Bureau which designs propositionary structures and conditions in the idealized state of utopia. They build from seemingly failed plans of defunct totalitarian states and re-adapts and rehabilitates them in their ideal settings or rather in nowherelands in timeless stasis.

He’s been exhibited in various local galleries and has had his first solo exhibit Picture Not So Perfect at Blanc in 2014. Rocky Mountain High is his 2nd solo exhibit

Petals and The Evergreen exhibit opening



Petals and The Evergreen, the exhibit by Olivia and Jay, opens in a timely season of summer. We don’t have spring, but flowers abloom in these extended days of clear blue sunny skies and sweltering heat. Aside from the indoor AC of the gallery, the sight of greenery and flora from their works offer a refreshing respite.







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Perfect transport to take in all the summer breeze




Olivia and Jay will present an art talk to discuss about in depth their ideas for their works and their individual processes on April 22 Wednesday at 6PM. Please send an email or message us on FB for inquiries and reservations as slots for the talk is limited but open to the public.






Chispita Opening at Pablo

IMG_8903_editedThe gallery turned into a bar for just one night.

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Cocktails were provided by Donosti

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while Jeona Zoleta played toxic mermaid in a pool filled with cava bottles and popcorn



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In a night so clear illumined by “stars” drinking until the bottom of the glass clears out for sunrise

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Chispita will be on view until April 4 (drinking is optional or it’s BYOC on your visit to see the show )







Valeria Cavestany’s Chispita On View Until April 4

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The show Chispita, which means sparkle and tipsy in Spanish, is a celebration of life and revelry for Valeria Cavestany, whose equally vivacious paintings and works always bespeak of a bon vivant’s relentless pursuit and passion for life, living to the fullest, drinking til the cup runneth over.

In this regard, she’ll be transforming the gallery premises into a makeshift bar cum salon, the exhibit title lit up brightly in incandescent bulbs as a bar sign by the gallery’s windows and a pool filled up with champagne will be provided for the exhibit goers for the opening night.  Her paintings meanwhile, framed in foam that approximate the cascading foam of a just opened champagne bottle, depict anecdotal scenarios of drinking – the rituals and customs associated with it and the wild meandering imagination of anyone who has been taken possession of too spirited libation or on the very elixir of life.

Valeria traverses Manila and Spain for inspiration for her works. Born to a Catalan father and a Filipino mother in Barcelona, Valeria began to examine the other culture of which her genealogy belongs to. Eventually, she decided Manila to be her home but returns to Barcelona now and then to continue an artistic career that was also established and followed by the European community as much as it is by the Asian region. She plots out connections between cultures, searches for and translates beauty and transcendental ecstacy. Working with different medium – watercolor, sculpture, paint, multimedia – supports her life-premise of inquiry, and her reference to Friedrich Schiller’s view on aesthetics having the unsettling power of surprise and transformation.

Her works have been shown extensively from 1987 to presently in Manila galleries such as Finale Art File, Ayala Museum, Manila Contemporary and Galeria Duemila. In Spain, she exhibited in Supermercado del Arte (La Coruna, Barcelona and Madrid) and Casa Asia. Other participation include Ainscough Gallery in London, Museo de la Acuarela in Mexico, the 2005 Flag Festival in Eppingen and Ilayda sanat galerisi in Istanbul. She was also part of the travelling exhibitions Bastards of Misrepresentation in New York in 2012 and Manila Vice in Sete, France in 2013.