UP Fine Arts Gallery

23/04/2026

23/04/2026

OPENING NEXT WEEK: The VC 21 Block W, X, Y, Z, & VC 25 Z classes present 𝙇𝙚𝙩𝙧𝙖𝙨 𝙔 𝙁𝙞𝙜𝙪𝙧𝙖𝙨: 𝘼 𝙂𝙧𝙖𝙥𝙝𝙞𝙘 𝘿𝙚𝙨𝙞𝙜𝙣 𝙖𝙣𝙙 𝙄𝙡𝙡𝙪𝙨𝙩𝙧𝙖𝙩𝙞𝙤𝙣 𝙀𝙭𝙝𝙞𝙗𝙞𝙩, opening at 4:00 PM on Tuesday, April 28 at the UP Fine Arts Gallery.

The exhibition will feature works on Letras Y Figuras, a genre of illustration during the Spanish colonial period in the Philippines. The tradition combined human figures with the letters of the alphabet and was spearheaded by Filipino painter José Honorato Lozano.

The students’ works depict Philippine culture through a variety of themes such as common traditions, national symbols, stories on daily lives of Filipinos such as commuting, and many more. These are executed both traditionally and digitally, as fulfillment of their course requirements in Visual Communication and Production Methods, in the form of posters and accordion books.

𝙇𝙚𝙩𝙧𝙖𝙨 𝙔 𝙁𝙞𝙜𝙪𝙧𝙖𝙨: 𝘼 𝙂𝙧𝙖𝙥𝙝𝙞𝙘 𝘿𝙚𝙨𝙞𝙜𝙣 𝙖𝙣𝙙 𝙄𝙡𝙡𝙪𝙨𝙩𝙧𝙖𝙩𝙞𝙤𝙣 𝙀𝙭𝙝𝙞𝙗𝙞𝙩 will run from April 28 to May 15, 2026 at Gallery Two.

FREE AND OPEN TO THE PUBLIC

The UP Fine Arts Gallery is open Tuesday to Saturday, 9 AM to 4 PM, at the Arts and Design West Hall, College of Fine Arts, Diliman, Quezon City. For inquiries, message [email protected] or call +63-2-8981-8500 local 3988.

22/04/2026

HAPPENING NEXT WEEK AT PAROLA 🌟
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𝗕𝗿𝗼𝘄𝗻 𝗕𝗮𝗴 𝗦𝗲𝗿𝗶𝗲𝘀 𝟬𝟳
𝗔𝗻 𝗜𝗻𝘀𝘁𝗶𝘁𝘂𝘁𝗶𝗼𝗻𝗮𝗹 𝗛𝗶𝘀𝘁𝗼𝗿𝘆 𝗼𝗳 𝘁𝗵𝗲 𝗨𝗣 𝗦𝗰𝗵𝗼𝗼𝗹 𝗼𝗳 𝗙𝗶𝗻𝗲 𝗔𝗿𝘁𝘀, 𝟭𝟵𝟬𝟵-𝟭𝟵𝟱𝟮
𝘸𝘪𝘵𝘩
𝘈𝘴𝘴𝘵. 𝘗𝘳𝘰𝘧. 𝘗𝘰𝘦𝘭𝘦𝘦𝘯 𝘈𝘭𝘷𝘢𝘳𝘦𝘻
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The UP CFA Department of Theory presents the Brown Bag Series. For its 7th installment, we are joined by Asst. Prof. Poeleen Alvarez who will share the results of her research, experiences, and reflections on the beginnings of the UP School of Fine Arts.
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The University of the Philippines School of Fine Arts (now College) is one of the oldest institutions of art in the Philippines and is home to the country’s most prestigious and pioneering artists, art historians, designers, and cultural workers. Established in 1909 under the auspices of the American colonial government, it has since produced 10 National Artists for Visual Arts who have bequeathed to the nation some of its most valuable cultural treasures such as Fernando Amorsolo’s Palay Maiden (1920), Guillermo Tolentino’s Bonifacio Monument (1931) and Oblation (1935), Jose Joya’s Granadean Arabesque (1958) and Napoleon Abueva’s Allegorical Harpoon (1964). Despite its tenure, there exists no formal study on the institution save for some essays published in monographs and exhibition catalogues, which are more or less silent about the colonial underpinnings that molded the school’s program and policies.
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This thesis traces the institution’s development as it undergoes the process of Filipinization; from its establishment in 1909 under American colonial rule, to the post-war nationalist milieu of the 1950s. Conversely, this thesis also brings to light how the SFA contributed to the nation-building efforts typical of the century under the sanction of American colonialism. The study will focus on the tenures of Directors Rafael Enríquez (1909-1926), Fabián de la Rosa (1927-1937), and Fernando Amorsolo (1938-1952). To create the narrative, it consults the University’s general catalogues, reports of UP Presidents, yearbooks, and some of the directors’ writings and speeches about art.
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FREE AND OPEN TO THE PUBLIC
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🗓️ April 29, 2026 (Wednesday)
🕦 11:30 AM - 1:00 PM
📍 Conference Room, Arts and Design West Hall, UP College of Fine Arts
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The UP Fine Arts Gallery is open Tuesday to Saturday, 9 AM to 4 PM, at the Arts and Design West Hall, College of Fine Arts, Diliman, Quezon City. For inquiries, message [email protected] or call +63-2-8981-8500 local 3988.
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21/04/2026

NOW ON VIEW: 𝑯𝒆𝒓𝒆 𝑫𝒐𝒘𝒐𝒏 𝑰𝑰: 𝑻𝒉𝒆 𝑭𝒐𝒖𝒏𝒅𝒊𝒏𝒈 𝒐𝒇 𝑱𝒐𝒔𝒆𝒐𝒏, a solo exhibition by Jungyeon Seo, opened last Tuesday, April 14, at Parola.

The exhibition puts the spotlight on Jinchaehwa, or more commonly known as Minhwa, a tradition of Korean true-color painting and a style of art that uses delicate, deep, and rich pigments, often applied to silk or paper. Aside from a selection of titles from the artist’s body of work, also featured are processes and materials employed by Seo. She is currently finishing her master's program at the College of Creative Humanities and Arts of Hansung University in ​Seoul.

The exhibition is part of the 10th anniversary celebration of the UP Korea Research Center (KRC). It is presented by the UP KRC with the support of the Korean Women's Association and the UP Fine Arts Gallery.

𝑯𝒆𝒓𝒆 𝑫𝒐𝒘𝒐𝒏 𝑰𝑰: 𝑻𝒉𝒆 𝑭𝒐𝒖𝒏𝒅𝒊𝒏𝒈 𝒐𝒇 𝑱𝒐𝒔𝒆𝒐𝒏 is on view until May 16, 2026 at Gallery One of Parola.

The UP Fine Arts Gallery is open Tuesday to Saturday, 9 AM to 4 PM, at the Arts and Design West Hall, College of Fine Arts, Diliman, Quezon City. For inquiries, message [email protected] or call +63-2-8981-8500 local 3988.

This post was made with our Student Assistant Ralfrey Romero, and interns Alex Lazo and Tatiana Andres

16/04/2026

“I will not say that you cannot think of your practice as a career, but the career is actually a bit shallow if you do not have that inner impulse that says, I have got to say something about my time. I have got to say something about the state of the only creature on the planet, so far, that can make art. Because until we have verified that some chimpanzees can do better than us, we are still the sole species that makes art.”

How does one maintain the integrity of art against the dominance of capitalist logic? Last March 17, Filipino artist 𝗝𝗼𝘀𝗲 𝗧𝗲𝗻𝗰𝗲 𝗥𝘂𝗶𝘇 led a talk, titled 𝘼𝙧𝙩 𝙖𝙨 𝙖 𝙋𝙧𝙖𝙘𝙩𝙞𝙘𝙚, 𝙣𝙤𝙩 𝙖 𝘾𝙖𝙧𝙚𝙚𝙧, on the motivations that sustain contemporary artmaking. Beginning with the pervasive reach of capitalism, he considers how framing art as a practice, rather than a career, may be key to sustaining it in conditions of precarity.

Ruiz anchored his discussion on select titles from his body of work that dates back to the 1970s. He revisited the conceptual points of departure that gave rise to these titles, which were primarily shaped by the political and social urgencies of their time. While monetary reward and social recognition may inform one’s motives, Ruiz suggested that these recede when art is understood as a practice. Economic precarity may increasingly threaten artistic labor, but he
underscores that art as a practice persists for reasons that transcend material incentive: “You had to do it because something inside was gnawing at you. Something inside was eating at you. Something inside said, ‘I will not survive if I don’t do this regardless.’”

Thus, what comes to the fore instead is the irresistible impulse to respond to one’s milieu—to care, to resist, or to fight for our times, as artists and human beings part of a broader community.

The full recording of Jose Tence Ruiz’s talk may be viewed on our page.

𝘼𝙧𝙩 𝙖𝙨 𝙖 𝙋𝙧𝙖𝙘𝙩𝙞𝙘𝙚, 𝙣𝙤𝙩 𝙖 𝘾𝙖𝙧𝙚𝙚𝙧 was organized as part of the recently-concluded legacy exhibition of Araceli Limcaco-Dans, titled Cheloy: Impressions from a Beautiful Soul, in collaboration with the FA 202 (Theories in Art Practice II) class.

Image credits:
1) Event photograph by Aldous Reyes
2) Artist portrait by Leilani Calvo

14/04/2026

“[A collective care framework is] a form of resistance in a world that wants you to look away from the systemic foundations of our collective distress. Right now, care is being peddled as a commodity made accessible only to those with money and resources. But with a collective orientation, we can pursue care with more support and our goals are made more attainable. You end up feeling more empowered.” [1]

In her talk titled 'On Collective Care in the Arts Community,' psychologist and author Dear Meg probed how true, consistent care requires a collective framework. Principles such as collective organization, formalization, foundation, and basis form the pillars of a framework where care is a shared responsibility. She discussed key strategies on how this may be operationalized in the workplace, such as the establishment of regular check-ins to foster accountability and the integration of wellness habits as significant parts of workplace culture rather than as peripheral activities.

Ultimately, collective care is a commitment not to turn away—from systemic challenges, and from the individual struggles of the members of our communities.

This discussion was part of 𝘾𝙖𝙧𝙞𝙣𝙜 𝙛𝙤𝙧 𝙋𝙚𝙤𝙥𝙡𝙚 𝙖𝙣𝙙 𝘾𝙤𝙡𝙡𝙚𝙘𝙩𝙞𝙤𝙣𝙨: 𝘼 𝘾𝙖𝙥𝙖𝙘𝙞𝙩𝙮 𝘽𝙪𝙞𝙡𝙙𝙞𝙣𝙜 𝙎𝙚𝙢𝙞𝙣𝙖𝙧 𝙛𝙤𝙧 𝙩𝙝𝙚 𝘾𝙁𝘼 𝙖𝙣𝙙 𝘼𝙧𝙩𝙨 𝘾𝙤𝙢𝙢𝙪𝙣𝙞𝙩𝙮 𝙒𝙤𝙧𝙠𝙚𝙧𝙨, a seminar held by the UP Fine Arts Gallery with support from the UP Diliman - Office for Initiatives in Culture and the Arts last February 20, 2026.

[1] Quote from the lecture of Dear Meg

This post was written with our intern, Zoe Davad.

11/04/2026

APRIL AT PAROLA ☀️

Join us for a lineup of exhibitions and events featuring projects that foster exchange among the College of Fine Arts, the country, and the broader region.

📌 𝗘𝗫𝗛𝗜𝗕𝗜𝗧𝗜𝗢𝗡𝗦

𝗦𝗼𝗹𝗼𝗱 𝗞𝗮𝘄: 𝗜𝘀𝗮𝗻𝗴 𝗣𝗮𝗴𝗽𝗮𝗽𝗮𝘁𝘂𝗹ó𝘆, 𝗜𝘀𝗮𝗻𝗴 𝗣𝗮𝗴𝗽𝗮𝗽𝗮𝘁ú𝗹𝗼𝘆
A Not for Sale Exhibit
April 8 to 20
Gallery Two

This photo exhibition articulates how the fight to reclaim ancestral domain is woven into the everyday life and cultural identity of the Tagnato, Puring, Buliluyan, Marihangin, Pandanan, Bugsuk, and Sebaring communities.

𝗛𝗘𝗥𝗘 𝗗𝗢𝗪𝗢𝗡 𝗜𝗜: 𝗧𝗛𝗘 𝗙𝗢𝗨𝗡𝗗𝗜𝗡𝗚 𝗢𝗙 𝗝𝗢𝗦𝗘𝗢𝗡
A Solo Exhibition by Jungyeon Seo
April 14 to May 16
Gallery One

Part of the UP Korea Research Center’s 10th anniversary celebration, the exhibition spotlights Jinchaehwa, more commonly known as Minhwa—a tradition of Korean true-color painting.

𝗟𝗲𝘁𝗿𝗮𝘀 𝗬 𝗙𝗶𝗴𝘂𝗿𝗮𝘀: 𝗔 𝗚𝗿𝗮𝗽𝗵𝗶𝗰 𝗗𝗲𝘀𝗶𝗴𝗻 𝗮𝗻𝗱 𝗜𝗹𝗹𝘂𝘀𝘁𝗿𝗮𝘁𝗶𝗼𝗻 𝗘𝘅𝗵𝗶𝗯𝗶𝘁
By VC 21 Visual Communication II (Blocks W, X, Y, Z) and VC 25-Z
April 28
Gallery Two

From posters to book design, the exhibition highlights the diverse applications of Letras y Figuras in visual communication.

📌 𝗘𝗩𝗘𝗡𝗧𝗦

𝗨𝗻𝗰𝗵𝗮𝗿𝘁𝗲𝗱: 𝗕𝘂𝗶𝗹𝗱𝗶𝗻𝗴 𝗮 𝗗𝗲𝘀𝗶𝗴𝗻 𝗖𝗮𝗿𝗲𝗲𝗿 𝘄𝗶𝘁𝗵𝗼𝘂𝘁 𝗮 𝗥𝗼𝗮𝗱𝗺𝗮𝗽
Industrial Design Talk Series with Katrina Joaquin
April 8
Multipurpose Hall

𝗛𝗔𝗡𝗗𝗟𝗘 𝗪𝗜𝗧𝗛 𝗖𝗔𝗥𝗘: 𝗖𝘂𝗿𝗮𝘁𝗶𝗻𝗴 𝗔𝗿𝘁 𝗔𝗰𝘁𝗶𝘃𝗶𝘁𝗶𝗲𝘀 𝗳𝗼𝗿 𝗖𝗵𝗶𝗹𝗱𝗿𝗲𝗻 𝘄𝗶𝘁𝗵 𝗦𝗽𝗲𝗰𝗶𝗮𝗹 𝗡𝗲𝗲𝗱𝘀
Brown Bag Series 06 with Prof. Dayang Yraola
April 15, 11:30 AM
Conference Room

𝗛𝗲𝗿𝗲 𝗗𝗼𝘄𝗼𝗻 𝗜𝗜 𝗪𝗼𝗿𝗸𝘀𝗵𝗼𝗽 𝗮𝗻𝗱 𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻 𝗪𝗮𝗹𝗸𝘁𝗵𝗿𝗼𝘂𝗴𝗵
April 15
Gallery One

𝗛𝗲𝗿𝗲 𝗗𝗼𝘄𝗼𝗻 𝗜𝗜 𝗔𝗿𝘁𝗶𝘀𝘁 𝗧𝗮𝗹𝗸
With Jungyeon Seo
April 16
Gallery One

𝗙𝗿𝗲𝗲 𝗖𝗮𝗺𝗲𝗿𝗮 𝗖𝗹𝗲𝗮𝗻𝗶𝗻𝗴
With Cameo Hub PH
April 18
Multipurpose Hall

More information about our exhibitions and events will be announced soon.

The UP Fine Arts Gallery is open Tuesday to Saturday, 9 AM to 4 PM, at the Arts and Design West Hall, College of Fine Arts, Diliman, Quezon City. For inquiries, message [email protected] or call +63-2-8981-8500 local 3988.

10/04/2026

The UP Fine Arts Gallery celebrates the 84th birth anniversary of National Artist Benedicto “BenCab” Cabrera!

Born on this day in 1942, BenCab’s interest in art started as early as age seven when he used charcoal to draw on the pavement outside their family home in Manila [1]. Five years later, he received his first award for an artwork: 100 pesos for an entry into his school’s poster making contest which tackled themes of human rights and oppression [2]. Enrolling in the UP College of Fine Arts, BenCab learned from the likes of Larry Alcala and Jose Joya, and would even have Kidlat Tahimik as his batchmate. His second solo exhibition at The Luz Gallery formally launched his career in 1968; since then, he has launched numerous exhibitions both in the Philippines and abroad, awarded by organizations such as the Cultural Center of the Philippines and ASEAN Business Forum, all culminating in his conferment of the Order of National Artists in 2006.

In talking about BenCab’s work, writer Krip Yuson notes that a strong suit of the National Artist is his employment of motifs that are historically or socially relevant to the Philippine context [3]. The frequent use of Philippine attire, environs, and figures from Philippine history in his works points towards an oeuvre that consistently revolves around the Filipino experience.

One example is his 1974 work entitled “Garrote.” The etching and aquatint features an individual, presumed to be female, fastened in the ex*****on device. The figure’s white clothing starkly contrasts the dark stipple-textured environment which makes for a grim and despairing scene. Created during the martial law period, “Garrote” may be interpreted in light of revisiting the violence of the regime and how ‘inang bayan’ has fallen under the tight grip of authoritarianism.

Historically, the apparatus is also linked to the ex*****on of the Gomburza—an analogy that points towards those martyred for safeguarding the rights and freedoms of the Filipino people. With Araw ng Kagitingan being celebrated yesterday, “Garrote” alludes to the necessity of taking a stand in spite of looming despair and a vigilance to protect the liberties we enjoy today.

[1] BenCab Museum. “National Artist.” (n.d.). https://bencabmuseum.org/national-artist/
[2] National Commission for Culture and the Arts. “Sagisag Kultura TV: Benedicto Cabrera.” (2020). https://www.youtube.com/watch?v=cq4v4Dcw56w&t=1516s
[3] ibid.

“Garrote” is part of the College of Fine Arts Permanent Art Collection.

This post was made with our intern, Ramon Carbon.

07/04/2026

“Kapag protektado ang mga manggagawa sa sining at kultura, mas napangangalagaan natin ang koleksyon. Hindi maaalagaan ng koleksyon ang sarili niya. Nangangailangan palagi iyan ng isang tao, ng isang staff, na dapat buong-buong natatamasa ang kaniyang karapatan ayon sa batas.” [1]

Last February 20, Director of the Ecumenical Institute for Labor Education and Research (EILER) Rochelle Porras joined 𝘾𝙖𝙧𝙞𝙣𝙜 𝙛𝙤𝙧 𝙋𝙚𝙤𝙥𝙡𝙚 𝙖𝙣𝙙 𝘾𝙤𝙡𝙡𝙚𝙘𝙩𝙞𝙤𝙣𝙨: 𝘼 𝘾𝙖𝙥𝙖𝙘𝙞𝙩𝙮 𝘽𝙪𝙞𝙡𝙙𝙞𝙣𝙜 𝙎𝙚𝙢𝙞𝙣𝙖𝙧 𝙛𝙤𝙧 𝙩𝙝𝙚 𝘾𝙁𝘼 𝙖𝙣𝙙 𝘼𝙧𝙩𝙨 𝘾𝙤𝙢𝙢𝙪𝙣𝙞𝙩𝙮 𝙒𝙤𝙧𝙠𝙚𝙧𝙨, a seminar held by the UP Fine Arts Gallery with support from the UP Diliman - Office for Initiatives in Culture and the Arts.

In her talk, Kolektibong Pagtataguyod ng Dignidad ng Paggawa at Kaligtasan ng mga Manggagawang Pangkultura, Porras discussed the occupational risks and legal rights of art and cultural workers.

The discussion covered the common risks of fine arts and conservation work which include physical, chemical or biological, psychosocial, and possible dangers to art collections. Porras also touched on significant laws, policies, and standards held on global and national scales, from general worker rights to more specific laws that apply to the creative industry. As she evaluated current practices with the audience, she listed practical steps and requirements needed for a safe and healthy working environment, to be done by both employers and workers.

[1] Quote from the lecture of Ms. Rochelle Porras

Scan the QR code in this post to view the recording and lecture kit.

This post was made with our intern, Alex Lazo.

06/04/2026

THIS APRIL AT PAROLA 🐻🇰🇷
𝗛𝗘𝗥𝗘 𝗗𝗢𝗪𝗢𝗡 𝗜𝗜: 𝗧𝗛𝗘 𝗙𝗢𝗨𝗡𝗗𝗜𝗡𝗚 𝗢𝗙 𝗝𝗢𝗦𝗘𝗢𝗡
𝗔 𝗦𝗼𝗹𝗼 𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻 𝗯𝘆 𝗝𝘂𝗻𝗴𝘆𝗲𝗼𝗻 𝗦𝗲𝗼
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Welcoming the month of April, the UP Korea Research Center, with the support of the Korean Women's Association, and the UP Fine Arts Gallery (Parola) of the UP College of Fine Arts cordially invite you to a special exhibit of traditional Korean painting by contemporary artist and Jinchaewa painter Jungyeon Seo.
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Titled 𝘏𝘦𝘳𝘦 𝘋𝘰𝘸𝘰𝘯 𝘐𝘐: 𝘛𝘩𝘦 𝘍𝘰𝘶𝘯𝘥𝘪𝘯𝘨 𝘰𝘧 𝘑𝘰𝘴𝘦𝘰𝘯, the exhibit is part of the UP KRC’s 10th anniversary celebration as a UP Systemwide Korean studies hub dedicated to fostering Philippines-Korea academic and cultural exchanges.
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The exhibit puts the spotlight on Jinchaehwa, or more commonly known as Minhwa, a tradition of Korean true-color painting and a style of art that uses delicate, deep, and rich pigments, often applied to silk or paper. A practitioner of this traditional art, Ms. Seo is currently finishing her master's program at the College of Creative Humanities and Arts of Hansung University in ​ Seoul.
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The exhibit opens at 4:00 p.m. on April 14 (Tuesday) and will run until the 16th of May, 2026.
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FREE AND OPEN TO THE PUBLIC
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The UP Fine Arts Gallery is open from Tuesday to Saturday, 9 AM to 4 PM at the Arts and Design West Hall, College of Fine Arts, Diliman, Quezon City. For inquiries, you may message us at [email protected] or call us at +63-2-8981-8500 local 3988.
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06/04/2026

HAPPENING THIS WEEK AT PAROLA
𝗨𝗡𝗖𝗛𝗔𝗥𝗧𝗘𝗗: 𝗕𝗨𝗜𝗟𝗗𝗜𝗡𝗚 𝗔 𝗗𝗘𝗦𝗜𝗚𝗡 𝗖𝗔𝗥𝗘𝗘𝗥 𝗪𝗜𝗧𝗛𝗢𝗨𝗧 𝗔 𝗥𝗢𝗔𝗗𝗠𝗔𝗣 🗺️
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A defining chapter of her Industrial Design journey was her role in the design and delivery of over 100 pavilions at 𝘌𝘹𝘱𝘰 𝟤𝟢𝟤𝟢 𝘋𝘶𝘣𝘢𝘪, a project widely recognized for its extraordinary scale and lasting legacy, and one she counts among her proudest achievements.
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In this talk, she will share lessons from the field, honest reflections on creative challenges, and practical insights for young designers looking to find their voice, think boldly, and design with purpose in a rapidly evolving world.
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🗓️ ​ April 8, 2026
🕥 10:00 AM - 11:30 AM
📍 Multipurpose Hall, Arts and Design West Hall, College of Fine Arts, UP Diliman
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FREE AND OPEN TO THE PUBLIC
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The UP Fine Arts Gallery is open from Tuesday to Saturday, 9 AM to 4 PM at the Arts and Design West Hall, College of Fine Arts, Diliman, Quezon City. For inquiries, you may message us at [email protected] or call us at +63-2-8981-8500 local 3988.

31/03/2026

PAROLA SPOTLIGHT 💡 Visitors passing by the Arts and Design West Hall (ADWH) Lawn are likely familiar with 𝙋𝙖𝙜𝙥𝙖𝙢𝙪𝙡𝙖𝙠 (to blossom), large-scale sculptural reproductions of human genitalia and other erogenous zones by UP College of Fine Arts (UPCFA) alumnus 𝗟𝗲𝗲 𝗣𝗮𝗷𝗲.

Pagpamulak was first exhibited as part of the LAWAS public art projects for the 2018 UP Diliman Arts Month supported by the Office for the Initiatives in Culture and Arts. In concurrence with the festival’s overall theme, the project took its name from the Hiligaynon word meaning “body” and was conceived as an exploration of the human form as a vessel. As a three-person presentation, it was curated by Assoc. Prof. Tessa Maria Guazon and Prof. Cecilia De La Paz of the Department of Art Studies and included works by Agnes Arellano and Mark Justiniani scattered across open spaces in the campus.

Paje took this prompt together with her continuing concern in gender and identity to create interactive sculptures shaped after intimate parts of the human anatomy—a breast boulder, a va**na and p***s seating, a stomach mound, and a cl****al seesaw structure, among others—configured as a playground where visitors may sit, idle, or engage with. The following year after LAWAS, Pagpamulak was then remounted at the UP Vargas Museum as part of the exhibition, “a knowing intimacy or a life,” curated by Carlos Quijon Jr. for the Museum’s Curatorial Development Workshop program.

In 2020, select pieces from Pagpamulak were formally donated by the artist to the UPCFA, in coordination with Prof. Leo Antonio C. Abaya and under the administration of former CFA Dean Prof. Mitzi Marie Aguilar-Reyes. They now join the UPCFA Permanent Art Collection, welcoming students, faculty, and guests as they proceed along the Lawn and walk towards the front steps of the ADWH.