top of page

Explorations

These works are part of longer and ongoing periods of explorations for larger projects I am planning for the next years. 
​

live painting digitally

live painting digitally

at Flock festival 2025

live painting with acrylics

live painting with acrylics

at a graduation show of Flock Theatre photo by Kalina Chupletlovska

Live painting with acyrlics

Live painting with acyrlics

at Soundpainting summer 2026 photo by Shikha Bajaj

stickers printed from digital live painting

stickers printed from digital live painting

Flock festival 2025

show lighting

show lighting

photo by Robert Hendriksen

light and shadow

light and shadow

shadow screen

shadow screen

fishing for shadows

fishing for shadows

photo by Jeroen Du Chantier

me with Afro

me with Afro

at AMAZE Amsterdam

me as olympic athlete

me as olympic athlete

at AMAZE Amsterdam

mirrors

mirrors

One project looks at the intersection between visual and performance art.

So far, I have done some things that fall into this intersection before:

​

Do live painting during improv theatre shows with different media and "canvasses" (digital and printed as stickers, with acrylics on a canvas, with pencils on paper).

Did some sound painting workshop sessions as a visual artist with Flock Theatre (with marker, ink, acrylics and charcoal on paper and yarn).

​

I would like to expand what I think is possible, try out what I have seen so far and experiment in collaboration with others, what else there is.

 

Inspirations are so far:

What I have seen at a show with Diego Ingold at Impro Amsterdam, where a musician, a dancer and a painter work to reflect on old professions that don't exist anymore. A wall of boxes was painted and cut during beautiful sentimental music and rhythms that made the world of movement and painting and glueing alive.

The play of shadow and light. Komorebi. Light heavy shows. Once I saw a sand painter shaping sand into a christmas story on a projector. And I have experimented and keep doing it with screens and shadow puppets.

Soundpainting. I heard that there can also be cooks.

Using images of people to change them, live. I saw it used with photos of visitors of AMAZE, where your own image became morphed into stereotypical images of recognizable archetypes.

Paper clothing, props and whole stage sets made out of paper and cardboard.

Object theatre and puppetry. I saw a performance once where puppets were created in that moment with styrofoam and regular living room table utensils. Never was I so amazed by how a non verbal story can be created out of nothing.

Live broadcasting.

Mirrors.

​

One project looks at my intercultural experience between Austria and the Philippines, and at both my Filipino and Austrian/European roots. I am interested in questions of identity, belonging, heritage and what we inherit from the people and places we come from.

​

I am especially interested in the parts of a heritage that are fragmented, withheld, forgotten, or simply no longer possible to fully recover. What happens to knowledge, memory, wisdom and family stories when the connection to the past is interrupted? How do we build a sense of belonging when parts of where we come from remain unclear or out of reach?

Starting from my own experience, I want to open up a wider conversation around in-between (gendered) identities, diaspora, cultural heritage and the lasting effects of colonial histories. We live in a globally connected world, but this connection does not necessarily mean that people have equal access to their own histories or cultural knowledge.

 

​The works shown here are early studies and experiments connected to this research. They are a way of beginning to give the project a visual language and to work through some of its questions before developing the larger body of work.

brown hands

brown hands

air dry clay and acrylic a hand sculpture that is not just white.

baybayin stamp

baybayin stamp

carved rubber stamp written in baybayin, a pre-colonial writing system from Luzon.

first burn

first burn

an art piece imagining one of my anchestors starting the cylce of non healed intergenerational and cultural trauma. it was most likely forced on them. but it is still not healed.

baybayin stamp

baybayin stamp

it's my stylized first name: Babette.

11000km

11000km

white and brown. and my hands can be both: pretty bright in winter and pretty dark in summer. my mother was always horrified of them being dark. i look like an Igorot she said. my father did only care about that my hands followed his lead.

11000km

11000km

they always told me a love story when talking about how they met. in a café where he asked for the way and she showed it. half a year later they were married. a story of devotion. between the lines I understood, it was one of blind expectations, legacy, sacrifice and regret.

brown hands

brown hands

modelled after my hands which were always called "workers' hands" by my mother.

11000km

11000km

11000km. this distance would have not been easily mastered in any other time. not by a mere working class man and a poor farmer's family woman. our world and time made it possible. and we tend to romatize it.

first burn

first burn

it is painted with the image of a family member of me as a reference. she might not like it.

11000km

11000km

legacy. that is their contract: to make sure that they both get something out of their connection. woman and man. wife and husband. and their legacy. you can read what they promised to give for it on all 11 meters of the art piece.

badlit and tattoos

badlit and tattoos

some badlit letters and some visayan tattoo symbols. badlit is a pre-colonial writing system by the Visayan people.

bown hands

bown hands

I want to believe that those hands uplift and hold the world. they are warmer and more welcoming than the world they see every day.

baybayin stamp

baybayin stamp

i wonder what those letters and symbols would leave as a mark on me.

bottom of page