My practice engages the entangled legacies of colonialism, material accumulation, and cultural survival. Working across sculpture, printmaking, video, and installation, I explore how objects and spaces absorb, transmit, or resist systems of power. I treat materials as carriers of memory—speculative relics that mark territories, migrations, and the unspoken histories embedded in the soil, the body, and the discarded.

Much of my work is anchored in the rural context of the Philippines, where land ownership, environmental transformation, and vernacular survival converge. I often turn to found and decayed materials—rusted metals, termite soil, bicycle parts, broken furniture—as a way of mapping unseen boundaries and voicing stories of displacement. Through pseudo-archaeological processes, I imagine new cartographies from what has been broken or erased.

Projects like Imprint of Lola Masyang’s House and my miniature basketball hoop installations use intimate, site-specific gestures to reflect on colonial legacies—from Spanish rule to American cultural imprint through sport. These works reframe postcolonial residues not merely as historical detritus, but as living fragments that continue to shape identity, survival, and resistance in the present.

Repair, mending, and reuse are more than methods—they are political and poetic acts. By engaging communities through workshops, oral histories, and shared making, I see my role as both artist and mediator, committed to transforming cultural leftovers into tools for reflection, storytelling, and reclamation.