Explorations
These works are part of longer and ongoing periods of explorations for larger projects I am planning for the next years.
![]() live painting digitallyat Flock festival 2025 |
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![]() live painting with acrylicsat a graduation show of Flock Theatre photo by Kalina Chupletlovska |
![]() Live painting with acyrlicsat Soundpainting summer 2026 photo by Shikha Bajaj |
![]() stickers printed from digital live paintingFlock festival 2025 |
![]() show lightingphoto by Robert Hendriksen |
![]() light and shadow |
![]() shadow screen |
![]() fishing for shadowsphoto by Jeroen Du Chantier |
![]() me with Afroat AMAZE Amsterdam |
![]() me as olympic athleteat AMAZE Amsterdam |
![]() 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 handsair dry clay and acrylic a hand sculpture that is not just white. | ![]() baybayin stampcarved rubber stamp written in baybayin, a pre-colonial writing system from Luzon. | ![]() first burnan 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. |
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![]() baybayin stampit's my stylized first name: Babette. | ![]() 11000kmwhite 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. | ![]() 11000kmthey 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 handsmodelled after my hands which were always called "workers' hands" by my mother. | ![]() 11000km11000km. 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 burnit is painted with the image of a family member of me as a reference. she might not like it. |
![]() 11000kmlegacy. 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 tattoossome badlit letters and some visayan tattoo symbols. badlit is a pre-colonial writing system by the Visayan people. | ![]() bown handsI 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 stampi wonder what those letters and symbols would leave as a mark on me. |


























