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Basswood, Reed, Cane, Dye
2024, Ongoing
RÊVERIE
reh·ver·ee / [noun]
(French) (a state of having) pleasant dream-like thoughts
1. Daydream
2. the condition of being lost in thought
RÊVERIE is a woven vessel series that captures my recent explorations with basketry. With these sculptures I laboriously hand shape wooden bases to anchor the fun-ctional woven vessels made of dyed reed and rattan. The loose, playfulness, raw nature of these sculptures suggest an act of release, of letting go of control, a practice basket making work is helping me to learn.
Sculpting baskets can be quite controlled and mathematical and personally, I can be too. I’ve found that weaving these vessels allows me to both lean into my needs to control but also to practice letting go.
The practice of feeding both of these parts of myself through weaving baskets feels like a daydream.
RÊVERIE BASKET No. 2
Basswood, Reed, Cane, Ink, Found Nylon Rope
28” H x 26.5”W x 24”D
RÊVERIE BASKET No. 3
Basswood, Reed, Cane, Dye
22 W” x 8” D x 20”
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Natural Fibers, Nylon Construction Nets, Wood
2022, Ongoing
The idea for this body of work started somewhere close to the ground looking up. For the last 5 years or so, I’ve been using nets in my work – I love their utility, lightness, strength and industrial nature, and I encounter these neon orange nets daily. I find their relationship and role in development and construction fascinating and the more you begin to notice this material in the city, you begin to realize… nearly the entire city is under construction.
Through my residency with Quinn Emmanuel, the vantage point has shifted a bit (the 22nd floor office-space-turned studio helps) and the work has taken a more imaginative turn. I’ve been looking out the window and thinking, “will they develop the sky?”
Installation View
Quinn Emanuel AIR 2-person show
Highline Nine Galleries, New York City
October 2023
Sky High No. 4
Natural Fibers, Nylon Construction Nets, Wood
60” x 40” x 3.5”
Sky High No. 1
Natural Fibers, Nylon Construction Nets, Wood
50” x 22” x 32”
Installation View
Quinn Emanuel AIR 2-person show
Highline Nine Galleries, New York City
October 2023
Sky High No. 2
Natural Fibers, Nylon Construction Nets, Wood
50” x 24” x 2”
Sky High No. 3
Natural Fibers, Nylon Construction Nets, Wood
42” x 20” x 2”
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Basswood, Reed, Cane, Ink, Found Nylon Rope
2024, Ongoing
I crafted these woven vessels at Haystack Mountain School of Craft’s Open Studio Residency. They’re composed of dyed and handshaped basswood bases, reed, cane, ink and found fisherman’s rope.
When I arrived to the residency, I knew I wanted to make baskets or woven vessels, I just didn’t know how and I didn’t bring enough materials. In my work, I like following an idea into its final form and drawing on aspects of place to inform my sculptures.
With these works, I shaped wooden bowl bases to resemble the site’s magical, fluid, smooth geologic formations where we gathered to watch the sunset each night. The reed and cane were mostly donated to me, which says alot about the generous environment Haystack provides. And in town, I cut discarded black nylon rope off of a pier to add necessary texture that finished off the baskets.
BREAK(THROUGH) BASKET No. 3
Basswood, Reed, Cane, Ink, Found Nylon Rope
28” H x 26.5”W x 24”D
BREAK(THROUGH) BASKET No. 1
Basswood, Reed, Cane, Ink, Found Nylon Rope
23”H x 10”W x 5.25”D
BREAK(THROUGH) BASKET No. 2
Basswood, Reed, Cane, Ink, Found Nylon Rope
16”H x 10.25”W x 5.25”D
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Polyester Net, Mylar, Paint, Birch Board
2023, Ongoing
The Gates series captures my ongoing exploration of hybrid weaving that mixes unexpected textiles and industrial materials to create refined, simplified compositions with rich and layered textures. With this series, I hand weave mylar into nylon netting to create tapestries that feature bold, geometric forms while capturing light, reflection and a kaleidoscope of colors from the environment.
The quiet yet powerful geometric compositions were inspired by barriers we experience across our external and internal landscapes, I named this body of work Gates as a humble reminder that barriers also have openings, entrypoints and gates often serve as these portals.
Installation View
‘Considering January’ at Patricia Sweetow Gallery, Los Angeles
Group Exhibition
The Gates No. 5, 2024
Polyester Net, Mylar, Paint, Birch Board
11.25” x 11.25” x 3”
The Gates No. 1 & No. 2, 2023
Polyester Net, Mylar, Paint, Birch Board
24” x 40” x 2”
The Gates No. 6
mylar, nylon net, paint, birch board
24.5” x 24.5” x 2.5”
The Gates No. 1 & No. 2, 2023
Polyester Net, Mylar, Paint, Birch Board
24” x 40” x 2”
The Gates No. 3 & No. 4
Polyester Net, Mylar, Paint, Birch Board
28” x 12” x 2”
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Woven Natural Fibres, Ink on Birch Board
2020, Ongoing
The White Noise Series was created during the beginning of the Covid-19 Pandemic in 2020 as a response to the drastic descent of urban activity outside my window. From my San Francisco Apartment, I incorporated the meditative practice of weaving to my daily routine to process the immense change of life around me, the ink markings often mark days I had seen or touched another person. The series continues to be a lesson in solitude and calm.
White Noise No. 10
Natural Fibers, Ink, Birch Board in Poplar Frame
40” x 30” x 2”
2024
White Noise No. 7
Natural Fibers, Ink, Birch Board in Poplar Frame
40” x 30” x 2”
2023
White Noise No. 14
Natural Fibers, Ink, Birch Board in Poplar Frame
40” x 30” x 2”
2024
Natural Fibers, Ink, Birch Board in Poplar Frame
40” x 30” x 2”
2020
White Noise No. 8
Natural Fibers, Ink, Birch Board in Poplar Frame
40” x 30” x 2”
2024
White Noise No. 5
Natural Fibers, Ink, Birch Board in Poplar Frame
40” x 30” x 2”
2020
White Noise No. 3
Natural Fibers, Ink, Birch Board in Poplar Frame
40” x 30” x 2”
2020
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Natural Fibers, Ink, Birch Board, Poplar Frame
2021, Ongoing
The Urban Gradient Series was created during the beginning of the Covid-19 Pandemic in 2020 as a response to the drastic descent of urban activity outside my window. From my San Francisco Apartment, I incorporated the meditative practice of weaving to my daily routine to process the immense change of life around me, the ink markings often mark days I had seen or touched another person.
Wavemaker
Natural Fibers, Ink, Birch Board
20” x 20” x 2”
2024
you know, like the ocean?
Natural Fibers, Ink, Birch Board
20” x 20” x 2”
2021
Coast to Coast
Natural Fibers, Ink, Birch Board
20” x 20” x 2”
2024
same but different
Natural Fibers, Ink, Birch Board
20” x 20” x 2”
2021
Within
Natural Fibers, Ink, Birch Board
40” x 30” x 2”
2024
Tahdig
Natural Fibers, Ink, Birch Board
12” x 12” x 2”
2021
Something Special
Natural Fibers, Ink, Birch Board
20” x 20” x 2”
2021
Untited
Natural Fibers, Ink, Birch Board
40” x 30” x 2”
2021
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Dried Grasses, Masonry Rope, Painted Board
12” x 12” x 2”
2021
Jalisco is a triptych of three 12” x 12” weavings inspired by thatched roofs I recently encountered around coastal Jalisco, though I have childhood memories of encountering similar roof structures called “Nipa Roofs” in my homeland of the Philippines. I am likely captured by thatched roofs because of my background in urban planning and architecture. In a field that often prioritizes euro-centric forms and construction techniques, thatched roofs have maintained their presence because of their simplicity, sustainability and most notably, their style.The Jalisco series adopts the materiality of this indigenous building technique as it is constructed of dried grasses and multi-colored masonry rope. Organized as a triptych, the two-toned composition creates an abstraction of interconnectedness.
Jalisco Triptych
Dried Grasses, Masonry Rope, Painted Board
12” x 12” x 2” (3)
Jalisco No. 1
Dried Grasses, Masonry Rope, Painted Board
12” x 12” x 2”
Jalisco No. 2
Dried Grasses, Masonry Rope, Painted Board
12” x 12” x 2”
Jalisco No. 3
Dried Grasses, Masonry Rope, Painted Board
12” x 12” x 2”