Rituals on the Ancestral Land BATO, Boracay Ati Tribal Organization | Boracay, Philippines Fluid Gold Journal extends our deep gratitude to the Boracay Ati Tribal Organization (BATO) for granting us permission to share and publish two of their rituals. The following rituals have been translated from the ATI Community local dialect. Our culture in the past was rich in numerous rituals. While we still teach our children about the various types of rituals, the process of performing them is no longer passed down. Due to the influence of Catholicsm and the establishment of the church, it is now rare to find medicine people, healers, or shamans, and many rituals are no longer practiced. A shaman is considered more powerful than a healer. Many of the shamans from earlier times have passed away, and only one healer, Tay Johnny, remains. As a result, we now seek the help of a shaman from a different province and also go to the hospital when we are sick. Despite this, we still believe in the value of our rituals, as they have the power to save lives and cure illnesses that Western medicine cannot. Palubad This ritual is conducted to determine if supernatural entities reside on the land. A hole is dug to plant a coconut seed. After three days, the hole is re-excavated to inspect the seed. If the coconut shakes, it indicates a negative presence on the land. If it remains still, the land is deemed safe for use and settlement. Sanag This ritual is for a newly constructed house. The father of the house or head of the household will conduct the ritual where the house will be built using stone or money. Plant the coins along the perimeter of the house in order to buy the land from supernatural entities. Previous Next

Explore a hidden Asian gem in the heart of Paris, France. < Back La Maison des Crêpes, Paris France Wencai Lin, Restaurateur My name is Wencai, and I arrived in France when I was 9 years old. Every time I went back to China, I would eat jianbing—a very popular street crepe there, especially for breakfast. But one day, I realized that no one around me in France knew about this dish. And that really surprised me: how could something so delicious be so little known here? So, I decided to open my own Chinese creperie in Paris. I went back to China, learned how to make it, then reinvented it in my own way, adapting it to local tastes. But at first, it wasn’t easy. Even with a good location, few people knew about jianbing. Everything changed when I posted a video on TikTok. It went viral in a single day, and that gave me hope. Today, I just want to share this dish that I love, and show that Chinese cuisine is so much more than what people already know. Je m’appelle Wencai, je suis arrivé en France à 9 ans. À chaque fois que je retournais en Chine, je mangeais du jianbing – c’est une crêpe de rue très populaire là-bas, surtout au petit-déjeuner. Mais un jour, j’ai réalisé que personne autour de moi en France ne connaissait ce plat. Et ça m’a vraiment surpris : comment quelque chose d’aussi bon peut être aussi peu connu ici ? Alors j’ai décidé d’ouvrir ma propre crêperie chinoise à Paris. Je suis retourné en Chine, j’ai appris à le faire, puis je l’ai revisité à ma façon, en l’adaptant aux goûts locaux. Mais au début, ce n’était pas facile. Même avec un bon emplacement, peu de gens connaissaient le jianbing. C’est en publiant une vidéo TikTok que tout a changé. Elle a explosé en un jour, et ça m’a donné espoir. Aujourd’hui, je veux juste faire découvrir ce plat que j’aime, et montrer que la cuisine chinoise, c’est bien plus que ce qu’on connaît déjà. Previous Next

Lê Ngọc Lâm Architecture and Haute Couture: A Harmonious Fusion of Vision and Reality Though architecture and haute couture design may seem worlds apart, they share a profound connection in their ability to transform visionary concepts into tangible masterpieces. Vietnamese designer Lê Ngọc Lâm exemplifies this synergy with his innovative approach to reconstructing fabric, resulting in magnificent creations that embody elegance and sophistication. LÊ NGỌC LÂM'S VISIONARY CREATIONS Lê Ngọc Lâm's "Dew Collection" features a stunning red dress that captivates with its ethereal beauty and intricate design. It was modeled by Lê Nguyễn Bảo Ngọc (Miss Intercontinental 2022 Vietnam) at the Vietnam Beauty Fashion Fest (VBFF) All Stars Season 7, which took place on June 23, 2024. This masterpiece draws inspiration from the delicate phenomenon of dew formation in the early morning hours, evoking the image of countless droplets clinging to petals and leaves. Constructed from an astounding 400 meters of red tulle, the gown showcases perfect symmetry and exemplifies Lê Ngọc Lâms meticulous attention to detail and precision. The creation of this dress reflects collective artisanship, involving multiple skilled craftspeople working in harmony. By translating natural phenomena into wearable art, Lê Ngọc Lâm demonstrates his ability to blend conceptual design with flawless craftsmanship, resulting in a garment that is not only visually arresting but also deeply meaningful. EARLY LIFE AND PASSION FOR FASHION Lê Ngọc Lâm, born in 1990 in a small rural area in Southern Vietnam, was raised in a farming family. At just 8 years old, a deep interest in fashion took root, sparked by old fashion magazines that he bought with his own savings and by watching fashion shows on TV. This early fascination became the foundation for his ambition to enter the fashion industry, setting him on a course distinct from his family's farming background. His journey reflects a determination to study hard and pursue his dreams for a better future for himself and his family. ACADEMIC JOURNEY AND CAREER CHOICE After being accepted into both Ho Chi Minh City University of Architecture and the University of Economics, Lê Ngọc Lâm made a decisive choice in one day to pursue industrial fine arts at the University of Architecture. After two years of general studies, Lê Ngọc Lâm explained, "I decided to specialize in fashion design. I knew my greatest strength was in spatial thinking, and I applied that to my fashion products to create a unique style that no one else in my class had." He added, "Architecture helps me think about shapes, and fashion allows me to analyze the shapes of the body, enhancing the advantages and structure of a beautiful figure. I seamlessly integrate architecture with fashion in this way." INNOVATIVE TECHNIQUES AND UNIQUE STYLE Lê Ngọc Lâm's creations stand out in the fashion world due to his meticulous hand-processing techniques and unique vision. He transforms fabric through dyeing, printing, or deconstructing and reconstructing it to create exclusive pieces. By blending traditional Vietnamese techniques such as chain-stitching, hand embroidery, and weaving with modern design, Lê Ngọc Lâm produces garments that are both culturally rich and contemporary. His signature works include voluminous dresses made from tulle, organza, and specially woven Vietnamese silk, which are not only environmentally friendly but also offer a high-end appeal. Particularly captivating are his stone and crystal-encrusted gowns, where the strategic placement of crystals on sheer fabric creates a stunning effect. When worn, these gowns are reminiscent of bioluminescent organisms adhered to the woman's body, as if she were emerging from water, glistening like stars in the night sky. Additionally, Lê Ngọc Lâm's versatility shines through in pieces like the white gown featured above, which is adorned with feathers. In contrast with some of the form-fitting gowns he creates, this dress is romantic, playful, and confident. It evokes memories of Joan Crawford in her iconic Letty Lynton dress from the 1930s. INTERNATIONAL RECOGNITION AND CHALLENGES It took Lê Ngọc Lâm a long time to find his own path and voice in design. He learned from major designers worldwide but utilized traditional Vietnamese techniques to create something that looks international yet carries his unique mark as a designer from Vietnam. Lê Ngọc Lâm has showcased his latest collections at large runways in Vietnam, where his products have been well-received and sold immediately after the shows. However, reaching the international market has been challenging. So far, he has managed to sell his products in China and the United States, though in limited quantities. Most of his international orders come through social media. Lê Ngọc Lâm's talent has not gone unnoticed internationally. He has been fortunate to work with Miss Universe 2007 Riyo Mori (Japan) and Miss Universe 2011 Leila Lopes (Angola). Most recently, he received an order from Nicki Minaj's stylist for her upcoming tour in September. CULTURAL INSPIRATION AND FUTURE VISION Lê Ngọc Lâm draws inspiration from Vietnam's rich cultural heritage, including historical landmarks like the ancient capital of Hue, royal tombs of old dynasties, and the country's long stretches of beaches. These elements serve as the main inspirations for many of his collections, honoring the beauty of Vietnamese culture while remaining unique. Looking to the future, Lê Ngọc Lâm believes that social media has made the world very accessible. He focuses on creating good and quality products to reach a vast number of potential customers from anywhere, rather than solely relying on beauty pageants or specific events to build his career. DEDICATION AND FUTURE ASPIRATIONS Lê Ngọc Lâm imparts valuable advice that he would give to himself: "Stay passionate, work wholeheartedly." He emphasizes, "If you are not satisfied with the present, there are still many opportunities for future growth. You can't know your limits until you explore them." Lam believes that combining fashion with traditional craftsmanship is key to finding a unique path and establishing something that is uniquely Vietnamese—this is the path he follows to secure a place in the competitive market. While his work designing for international beauty pageant contestants has provided some global exposure, Lê Ngọc Lâm sees this as just a small facet of his broader career vision. He recognizes that beauty pageants are "a good way to connect with the international market," but they are not his ultimate goal. Lê Ngọc Lâm states, "The global population is very large, and pageants represent a very small fraction. I don't focus on them to build my career." Instead, he concentrates on his core values, learning new skills, and working with traditional materials to reach a broader audience. For him, beauty pageants are "just a small passion and do not significantly impact my design career." LEGACY AND FUTURE IMPACT Lê Ngọc Lâm's work goes beyond conventional fashion, masterfully blending architectural principles with couture to elevate Vietnamese design on the global stage. Like the concept of "form follows function" in architecture, Lê Ngọc Lâm's designs seamlessly merge aesthetics with purpose, creating garments that are both visually stunning and structurally innovative. His meticulous artistry, deeply rooted in cultural heritage and sustainability, establishes him as a pioneering figure in the fashion world. Lê Ngọc Lâm's journey from rural Vietnam to international acclaim exemplifies discipline and tenacity, inspiring emerging designers worldwide. As he continues to push boundaries in design, Lê Ngọc Lâm reshapes the fashion landscape and paves the way for a more diverse, sustainable, and culturally rich future. His commitment to Vietnamese traditions and techniques, combined with his innovative vision, serves as a powerful reminder that with talent, dedication, and cultural pride, one can make a lasting impact on the global stage. 1/3 Images provided by: Le Ngoc Lam

Taipan Lucero Baybayin Calligraphy Artist Reviving Filipino Heritage: Taipan Lucero's Baybayin Calligraphy Journey Writing has always been a cornerstone in shaping civilizations across Asia, and the Philippines is no exception. One fascinating chapter in this narrative is Baybayin, an indigenous script with roots in ancient Indian Brahmi script, that flourished in the Tagalog region. Despite its rich history, Baybayin's significance has often been overlooked in contemporary Filipino culture. However, a growing movement is reigniting interest in this ancient script, with young artists like Taipan Lucero leading the charge to preserve and celebrate Filipino heritage through their work. Taipan Lucero hails from Manila, with his roots in the culturally rich Ilocos and Samar regions. He pursued visual communications, advertising, and marketing at the University of the Philippines College of Fine Arts. After college, he ventured into the world of advertising with friends, but a brief stint with his company led him to freelancing as a graphic designer. It was during this time that an American businessman, captivated by his work, offered him a position in Japan. “As a foreigner in Japan, I needed to understand the aesthetics and design philosophies of the Japanese,” Taipan recalls. His employer enlisted a master calligrapher to teach him Shodo, the Japanese art of calligraphy. “I experienced first-hand how the Japanese revere and respect their culture,” he adds. The Shodo master’s teaching method was a meticulous ceremony, from the posture and brush grip to the deliberate breath of each stroke. This profound experience sparked a question in Taipan’s mind: “Why don’t we show the same love and respect to our own culture?” With a newfound resolve, Taipan began to delve into Baybayin. He integrated techniques from Shodo into his Baybayin calligraphy, creating a unique blend that honors both his Filipino roots and his Japanese inspiration. His artwork is characterized by the use of acrylics, drawing from various Filipino cultural elements such as the Kulintang and Okir. The Kulintang, a traditional brass musical instrument from Mindanao, is known for its intricate, resonant tones and is shared with neighboring countries like Indonesia and Malaysia. The Okir, a distinctive design style of the Maranao and Tausug peoples, features floral and geometric motifs, often seen in wood and metalwork across the southern Philippines. Taipan’s exploration was further enriched by his visit to the “Philippine Ancestral Gold” exhibit at the Ayala Museum in Manila, which showcased exquisite precolonial gold artifacts. Inspired by these treasures, he began to incorporate gold paint into his Baybayin pieces, creating a contemporary art form that highlights the beauty of Philippine history. Taipan’s journey hasn’t been without challenges. His use of Baybayin combined with Kulintang and Okir designs sometimes leads to misconceptions, with some viewers mistaking his work for Arabic script. Taipan addresses this by emphasizing his intention to unify different aspects of Filipino culture: “We are all Filipinos,” he asserts. His art is a celebration of the rich tapestry of Filipino heritage, striving to bridge the gap between the northern and southern regions of the Philippines. “I hope that my art will someday become a pillar of Filipino art,” Taipan expresses. He is dedicated to making his Baybayin art unmistakably Filipino, expanding the narrative beyond the typical scenes of still life, landscapes, and portraits that often define Philippine art. “Maybe we could add another staple to Filipino art,” he muses. Taipan Lucero envisions a positive evolution for Philippine culture, inspired by the growing interest among Filipinos on social media platforms in learning about Baybayin. “If you can show love for foreign cultures like K-Pop and Korean dramas, you can show the same love for Filipino culture,” he asserts. He hopes his art will contribute to this cultural appreciation. For aspiring artists following in his footsteps, Taipan advises, “do adequate research.” As we reconnect with and understand our cultural heritage, it is our collective responsibility to respect and honor its elements, their usage, and their meanings. Photo credit: Provided by Taipan Lucero

< Back Victor Yadne The Song of the Tundra: The Living Art of Victor Yadne Image Provided by Victor Yadne In the northern silence where wind shapes the earth and light drifts like breath across frozen plains, art finds a voice in bone and antler. From this elemental world emerges Victor Yadne, a sculptor whose hands remember the language of his ancestors. His carvings do not merely depict life on the tundra—they listen to it, translating the quiet pulse of reindeer hooves, the drift of snow, and the echo of human belonging into form. Each piece he creates carries the weight of memory and the grace of movement, revealing a world where creation itself is inseparable from survival and reverence. The tundra is a vast region found mainly in high mountainous areas around the Arctic. It is characterized by permafrost, low shrubs, lakes, rivers, cold winters, and short, cool summers. This biome is home to animals such as reindeer, Arctic hares, Arctic foxes, musk oxen, and wolves, among others. The Arctic and sub-Arctic tundra of northwest Siberia—particularly the Yamal Peninsula and the broader Yamalo-Nenets Autonomous Okrug of Russia—is home to the nomadic Indigenous people known as the Nenets. Their culture is deeply rooted in the herding of large reindeer populations, which provide food, hides, transportation, and materials for their mobile dwellings. Life on the Yamal Tundra Amid the stunning yet unforgiving landscape of the Arctic emerged a brilliant and well-respected sculptor, Victor Yadne. His art speaks the language of his landscape, reflecting both its intricacy and the discipline nature instilled in him. “My upbringing is inseparable from the harsh and beautiful nature of Yamal, from the way of life of my people, the Nenets. I was born in the tundra, in a family of reindeer herders and hunters, and my childhood was spent migrating. We were constantly moving with the reindeer across the vast expanses, and this rhythm, this deep connection with the land and animals, became my first and most important teacher.” From Tundra to International Exhibitions Today, Yadne lives and works in New York, where his practice continues to evolve while maintaining a strong connection to the traditions of his homeland. His work has been presented in several exhibitions internationally. In 2024, one of his exhibitions took place in New Bedford, while simultaneously his work was shown in Zurich and Bern, Switzerland. From October 2025 to February 15, 2026, his work is exhibited at the Queens Museum, and he is currently preparing for an upcoming exhibition at the National Gallery in Ottawa, Canada. A small permanent exhibition of his works is also on view at the Grade Hook Gallery, North Gallery. Victor Yadne is among the few artists who shape reindeer antler and bone into expressive sculptures, drawing directly from ancestral narratives and the realities of tundra life. His practice exists alongside other forms of Nenets continuity: while Yadne carves, his older brother works as a fisherman in a small village, sustaining the community’s enduring relationship with rivers, seasons, and subsistence traditions. “For as long as I can remember, I have been carving figures of animals and people since childhood. I guess it came with me when I was born,” Yadne reflects—positioning his craft not as a learned profession but as an inherited way of seeing and making. Learning Through the Land Unlike in much of the Western world, where immersion in nature is often framed as leisure or escapism, Yadne never understood “being in nature” as a separate activity. “Observing nature wasn’t an activity. It was life itself.” The tundra is his living widescreen—alive with shifting light and sound, a vast moving portrait where every creature’s motion and every gust of wind becomes part of an endless serenade. Hours spent watching animals, studying the stillness of dwarf trees in snow, and learning to read tracks—knowledge passed down by his father and older brother—formed a living language. Even as a child, he took on responsibilities, caring for the reindeer, crafting harnesses, and repairing sleds. Encounter with Ancestral Material “But the most important turning point came when I first saw my uncle’s knife with handle made of mammoth tusk. I was amazed by the sacred material, in which antiquity itself was sleeping, the breath of times when giant-mammoths walked our tundra. It was not just an object, but a relic connecting us with our ancestors,” Yadne reflected. This way of seeing shaped his artistry—a visual and material grammar he translates into bone, allowing sculpture to serve not as representation but as continuation. Ancient stories told by elders around the campfire nurtured the language young Victor would later use as he began to carve his own stories into reindeer antlers. The significance of each highly detailed sculpture lies in its role as a blueprint of the Nenets’ spirit and history, making it a living memory. The themes of Yadne’s sculptures—nature, animals, and the daily life of the Nenets—embody his own spirit and sense of artistic responsibility. Material, Memory, and Meaning Yadne’s work carries deep meaning drawn from his people’s understanding of life—as an unbroken connection between humans, animals, and the natural world. “Mammoth ivory represents a link to the ancient world. It holds the memory of thousands of years and often reflects themes of eternity, nature spirits, ancestors, and the cycles of life,” Yadne explains. In contrast, reindeer antler symbolizes vitality, movement, and harmony with the land. For the Nenets, the reindeer is sacred—a living companion that shares their journey across the tundra. The delicate balance between humans, animals, and landscape in Yadne’s carvings reflects the patience, gratitude, and attentiveness he learned not only from his family but from the tundra itself. “Yamal taught me to be not just an artist, but a storyteller,” he says. Each carving—man, animal, and nature intertwined—echoes the Nenets belief in living respectfully within the circle of life. Modern tools have given Yadne new means of expression, yet his process remains guided by instinct and respect for the material. He doesn’t force a shape but listens to what the ivory or antler suggests. “This combination allows me to create pieces that carry the spirit and traditions of the Nenets people while still speaking to today’s world,” Yadne adds. Shared Artistic Life The depth of Yadne’s work also reflects his close bond with his wife, Inna, whose artistry in beadwork and textiles brings an added layer of meaning to their shared creative life. Her influence and collaboration are evident in many of his sculptures, where their talents meet in quiet harmony. Together, their art becomes a serenade—a gesture of devotion not only to one another but also to their people and the living world that sustains them. In the Arctic tundra of Yamal, Victor Yadne’s sculptures serve as enduring expressions of Nenets identity and the environment that sustains them. His carvings in reindeer antler and mammoth ivory capture the movement of the herds, the patterns of migration, and the stories passed down through generations. Each piece reflects the balance between people, animals, and the land—a relationship central to Nenets life. Yadne’s work functions not only as art but as a living presence among his community, reinforcing the continuous exchange between the tundra and its people. In this shared rhythm, his sculptures become part of the serenade of daily life, a reminder that the land and its people are in constant conversation. Victor Yadne with wife Inna.jpg Victor Yadne with wife Inna.jpg 1/1 Image Provided by Victor Yadne Previous Next

Erica Paredes Filipina-Parisian Chef Reyna's Culinary Journey "I built the community first; then the space followed." This is the guiding principle Erica Paredes followed to secure her success with her Parisian restaurant, Reyna. From her bright eyes, her friendly and charismatic smile, to her artistic floral arm tattoo, one has the impression that she is an expressive, creative, and confident woman. Erica Paredes is a celebrated culinary steward and the owner of Reyna in Paris. A Filipina, she began her career in publications, particularly in the fashion and beauty arenas. Her global journey spans the Philippines, Australia, Great Britain—where she studied in London—and now Paris, where she honed her culinary skills at Le Cordon Bleu. Paris was a serendipitous stop that soon felt like home, aligning perfectly with her vibrant personality. The journey to the success of Reyna, and thus her success, was "organic yet purposeful," as Erica described it. She worked at various restaurants, including an internship at a Michelin-rated establishment. For Erica, climbing the ladder while working for someone else was never her goal. She knew she wanted her own space to pursue her second career. She sought out experiences in challenging kitchens to observe operations and learn how to manage her own place. Erica initiated a supper club, her brilliant idea involving hosting a three-course meal and a glass of wine for ten random guests at her apartment. Utilizing social media platforms like Facebook and Instagram, she announced the date of the supper and the theme for the evening. She never revealed the menu in advance, adding an element of surprise to the dining experience; however, she always asked guests for any dietary restrictions. From her kitchen, equipped with a professional table and open to the dining room with a single table, Erica delivered what would become the essence of her restaurant, Reyna. Her aim was to provide her guests with an exceptional experience in a communal setup, reminiscent of the Filipino tradition of salo-salo, or togetherness. Opportunities for pop-up kitchens soon came her way. She was offered the chance to take over a restaurant kitchen for varying periods, akin to a residency. These stints ranged from one week to two weeks, with the longest being four months. During the Covid pandemic, when the food industry was heavily impacted and restaurants were closing, it was a time of difficulty and self-questioning. However, this did not deter Erica. According to her, "In times of despair and hardship, it's time to find solutions and answers to get to the next step." During the pandemic, when many restaurants remained closed, Erica resumed cooking in her kitchen for takeout. Through her connections, she found a restaurant kitchen where she could produce her food using professional equipment and hired two people with scooters to handle deliveries. Erica worked throughout the rest of the pandemic. When restaurants began reopening, she resumed her pop-up kitchens until she eventually opened Reyna two years ago. Erica explains that Reyna is an homage to her late maternal grandmother and to the women who nurtured her growing up in the Philippines. It became evident during this interview how close Erica is to her family when she described her relationships with the women in her family. "I love that I come from a lineage with a grandmother who is very caring and another grandmother who is a badass." When asked how her Filipino upbringing influences her work, Erica explained that it shapes her thinking and the way she treats people. This explains the respect she receives from her Reyna team and the patrons who continuously support the restaurant. "You can be the best in any field, but if nobody likes to work with you, you will not get far." It is important for her to treat people with respect and maintain her passion for what she does. Erica describes her kitchen as democratic, where her sous chefs can make suggestions, test them out, and proceed with them if they meet Reyna’s culinary standards. Running a restaurant in Paris poses certain difficulties due to cultural differences. Compared to Manila, where staffing is more accessible, labor in Paris is very expensive, resulting in Erica taking on more responsibilities than just cooking. For instance, if there is a plumbing problem, she has to fix it herself. Besides being creative, personable, headstrong, and hardworking, one of Erica’s biggest strengths is her ability to recognize people who can help her bring her goals and ideas to fruition. As a woman, Erica has proven herself in the culinary arena through hard work. However, she is not one to settle after a single positive publication about Reyna. “Staying consistent and relevant in Paris is very difficult because there is always a new place opening up,” Erica explains. Reyna is celebrating its two-year anniversary, a testament to her work's relevance in Paris. When asked for advice to our readers, Erica states, “Success is moving forward, reaching small goals to get to the big goals.” Investing in oneself is significant, but having the discipline to work hard is mandatory. It is not enough to recognize one’s passion because “there is no red carpet that will be rolled out for you.” She describes her journey to success as encountering swamps and quicksand and requiring her to climb mountains. Similar to what we see on social media, people only post the best parts of their lives, even though their struggles are real. Hardship, however, allows one to use parts of the brain that would otherwise remain dormant. “Don’t be afraid of hardship, to be uncomfortable, and to exercise creativity,” she adds. Surrounding oneself with key individuals is essential to achieve one’s goals and to support one’s mental health. “I have endless ideas I want to execute. If it fails, it fails. At least you are trying to do it. Find your strengths and weaknesses, and when you find your weaknesses, find people to fill those gaps.” Photo credits: Portrait and restaurant by Paolo Coumans | Food by Erica Paredes

Mario Mercado 1938-2021 An Homage To A Filipino Artist Mario Mercado Lizard on a shoe Mario Mercado Abstract Mario Mercado Portrait Mario Mercado Lizard on a shoe 1/6 Images provided by: Joni Mercado Born in Baritan, Malabon City, Philippines, during the tumultuous years of World War II, Mario Mercado’s early life was marked by resilience and resourcefulness. Despite hardships, his curiosity and love for beauty flourished. Mario developed a deep appreciation for culture, which led him to explore photography, taxidermy, and indigenous art. His journey as an artist began with studies at the Pratt Graphic Art Center in New York City, where he overcame significant challenges, including financial struggles, to pursue his passion. Through his lens and lithographs, Mario captured the essence of life—blending his Filipino heritage with his experiences abroad. A well-known fine artist in the Philippines, Mario immersed himself in the cultural tapestry of his homeland. He lived for two years with the Mangyan people (Mangyan is a collective term for indigenous groups in Mindoro Philippines), studying their folklore and traditions, which became the subject of a paper he published while serving as Managing Editor of a Philippine newspaper. His work was not limited to the visual arts; Mario undertook archeological research, amassing an impressive collection of Philippine artifacts that reflected the country’s diverse history. Mario was also the figure behind bringing down the Sari Manok, a legendary bird from Philippine mythology of the Maranao people in Mindanao. The word Sari means assorted colors while the word Manok means rooster. The Sari Manok is a symbol of cultural pride, from the mountains, further cementing his dedication to preserving Filipino heritage. His creative output and scholarly pursuits were united by his inquisitive spirit, documenting stories of survival, identity, and cultural richness. A true visionary, he lived as an artist in every sense, preserving beauty and history through his art and research.

Niyamat Mehta NIyamat Mehta.jpeg NIyamat Mehta.jpeg NIyamat Mehta.jpeg NIyamat Mehta.jpeg 1/5 Images provided by Niyamat Mehta BIOGRAPHY Born in 1999 and raised in New Delhi, Niyamat Mehta discovered her love for sculpture during her formative years at a boarding school in the serene foothills of the Himalayas (Sanawar). Inspired by a dedicated mentor, Niyamat began exploring the art of sculpting and soon realized that it was not simply a hobby but her life’s purpose. This passion led Mehta to the prestigious Florence Academy of Art in Italy, where she immersed herself in the rich traditions of classical sculpture. Her time in Florence was transformative, spent under the tutelage of master sculptors, refining her skills, and cultivating a profound artistic vision. Determined to expand her understanding of the global art landscape, Mehta pursued advanced studies at the Sotheby’s Institute of Art in London. During this time, she not only deepened her knowledge of the art market but also taught at the London Fine Arts Studios. It was here that Niyamat embraced the diverse expressions of contemporary and pop art, further enriching her unique creative perspective. Upon returning to New Delhi, Mehta founded Atelier Della Firenze, a haven for artistic creation and education. Today, she divides her time between New Delhi, London, and Dubai, presenting her work at international exhibitions and sharing her vision with a global audience. Her sculptures, rooted in the traditions of both Western and Indian art, embody a delicate balance of heritage and modernity. Through her work, Niyamat captures universal themes of resilience, connection, and individuality, creating pieces that resonate deeply and reflect her journey as an artist and a storyteller. EXHIBITIONS Summer exhibition with The London Art Exchange Summer exhibition with Red Eight gallery, London Essere, solo exhibition with Arushi Arts (New Delhi based gallery) at Bikaner House, New Delhi 1100

Artist Yessiow - Each one braid one.JPG Yessiow - Flowing Passage 1.0_2026_Yessiow.JPG Yessiow - Soft Inside_2025.png Yessiow - Each one braid one.JPG 1/4 Images Provided by Yessiow Yessiow is a multidisciplinary artist who grew up in Bali, Indonesia. With Javanese roots and a deep connection to Balinese culture, she was immersed in a blend of traditions from an early age. This dual heritage continues to shape her artistic identity, informing the patterns,colors, and storytelling elements found throughout her work. She is best known for her vibrant street art and large-scale murals that weave together narratives of place, community, and everyday life through bold color, playful forms, and personal storytelling. Since beginning her mural practice in 2013, Yessiow has developed a visual language heavily influenced by ancient Greek pottery, natural objects, and bright tropical colors. Pot and vase forms frequently appear throughout her work as symbolic representations of comfort zones, becoming storytelling devices that help her reflect on belonging, memory, movement, and human connection. Through these recurring forms, she often narrates stories about the communities she collaborates with and the places she paints in. After graduating in 2018, Yessiow and her partner, Stijn, set off on a journey to explore the world, initially driven by curiosity rather than artistic ambition. Their travels took an unexpected turn when the COVID-19 pandemic led them to stay in India for nearly two years. During this period, Yessiow immersed herself in painting on the streets and developed a deeper relationship with public art. In India, she painted her first four-story mural, an experience that solidified her passion for large-scale walls and strengthened her interest in connecting with communities through art. What began there soon evolved into an international mural practice. Since then, Yessiow has painted walls across a wide range of cultural and urban landscapes, creating public works in countries including Italy, Greece, Jordan, South Africa, Japan, Vietnam, Serbia, Australia and beyond. Each place has further shaped her approach to storytelling through murals, rooted in local encounters, shared spaces, and human connection. In recent years, Yessiow has expanded her practice beyond murals into textile and mixed-media installation works. Drawing inspiration from her parents, who have a lifelong practice in knitting, she began reconnecting with her roots by integrating hand-knitted elements into her paintings and installations. Her current studio practice explores themes of memory, domesticity, inherited craft, and intergenerational collaboration, often combining fabric, paint, and sculptural forms to create tactile and layered works. Alongside her artistic practice, Yessiow has initiated several projects that support the wider street art community. In 2021, she founded Street Art Calls , a platform created from her own struggles finding opportunities during the early stages of her career. What began as a personal archive of global open calls quickly evolved into an international resource used by artists worldwide. In 2023, after returning to Bali, she co-founded the Tangi Street Art Festival , a community-driven initiative dedicated to public art and cultural exchange on the island. In 2025, she launched Far East Mural , a platform supporting and connecting female street artists across Asia and beyond. These initiatives reflect the same values that run through her artistic practice: collaboration, accessibility, storytelling, and creating space for others. Her contributions to art, public space, and social impact have received international recognition, and in 2024 she was named to Forbes 30 Under 30 Asia in the Arts category. Upcoming shows and projects: 1. Artraga with Connected Art Platform, Jakarta Indonesia - June 2026 2. ⁠ Salon et Cetera with Ace House Collective, Yogyakarta, Indonesia - June 2026 3. Ubud Open Studio, Bali, Indonesia - June 2026 4. Ibug Street Art Festival, Riesa, Germany - August 2026 Previous Next

Previous Next Sybil Wa A Creative Light of Care, Dignity, and Commitment Image credit: Matthew Lella (left image), Chris Lee (right image) While architecture is often associated with physical structures, its true essence lies in serving the people who inhabit them. The spaces we occupy shape how we live, interact, and feel a sense of belonging. Whether private or public, architecture reflects a society’s priorities: what it protects, whom it welcomes, and how it defines access. For architects—especially those working in the public realm—their responsibility is both technical and deeply social: to create spaces that are inclusive, responsive, and rooted in human dignity. Few embody this perspective more clearly than Sybil Wa, whose work across civic, cultural, and residential projects is grounded in the belief that good design starts with understanding and dialogue. ROOTS AND RESONANCE Architect Sybil Wa, a Canadian of Chinese descent, conveys this commitment in her role as principal at Diamond Schmitt , an award winning firm based in New York, Toronto, Vancouver, and Calgary. Born in Canada to parents who emigrated from Hong Kong in the 1970s, Wa traces her understanding of identity and community to her upbringing. At home, Cantonese remains the dominant language—a dynamic that encouraged her to improve her fluency, allowing her to communicate more deeply with elders, connect with family, and navigate the everyday nuances of Chinese culture, from conversation to cuisine. Wa is especially recognized for being one of the design team behind the reimagined David Geffen Hall at Lincoln Center in New York City. The project, which began in 2015, culminated in its official reopening in 2022 after eight years of development. As Wa described, it was a deeply collaborative process—“much like a symphony, where there are so many musical voices that together have one effect: a truly integrated result.” SYMPHONY OF COLLABORATION: RETHINKING THE "STAR ARCHITECT" Although architectural projects are often attributed to a single “star architect,” Wa resists this notion, placing greater emphasis on the collective. Drawing from traditional Chinese and broader Asian values—where success is seen as a shared achievement—her approach highlights the intricate coordination between design, technical systems, and human experience. Rather than positioning architecture as a solitary vision, she sees it as a collaborative response shaped by the needs of artists, stage crews, audiences, and the emotional resonance of the space itself. “There was a lot of dialogue with many inspirations,” she explained, “but the right response is the one that meets the community’s needs and experiences.” PERFORMING ARTS FOR ALL: REDEFINING ACCESS AT DAVID GEFFEN HALL This principle of responsiveness is evident not only at David Geffen Hall, but also in other major performance spaces Wa has helped bring to life. She was part of the core team behind the Four Seasons Centre for the Performing Arts in Toronto, Canada’s first purpose-built opera house, where acoustics and transparency were balanced to make the arts more accessible. In St. Petersburg, she contributed to the design of Mariinsky II, a contemporary expansion to the historic Russian opera house that delicately negotiated context, heritage, and modern function. More recently, her work on the University of Virginia Center for the Arts to establish a civic hub that brings together community, students, and artists in a shared cultural space. Across these projects, the through line is clear: architecture as a civic gesture—where the building is both a container and a connector. When asked about her views on the role of performing arts spaces in relation to architectural equity, Wa reflected on attending a public concert in Central Park. “I was astonished to see how diverse the audience was during the free concert. It was as if the subways emptied into the park.” She realized that “the building is built to protect the arts, a roof over the head, but it also becomes a barrier in contrast to outdoor spaces.” This revelation made her aware that every time she drew a door or a wall, she was creating a barrier. At the same time as protecting and housing something, you’re also creating a barrier to it. DRAWING THE LINE: BARRIERS, ACCESS, AND THE ETHICS OF SPACE She consulted the census data of New York City and its boroughs to understand who could potentially attend the performance space. The goal became inclusivity, envisioning an audience of multiple generations and ethnicities. The city’s census, she noted, “inspired our image of the audience. This is New York City. It is a uniquely diverse metropolis and it is important for Lincoln Center to connect with broad talent and audiences,” she asserted. As a result, the renovation of David Geffen Hall became a pacesetter for what a performing arts center can be. The team prioritized accessibility, flexibility, and public engagement, transforming the space into a more inclusive and dynamic cultural hub. Key improvements included patron and artist amenities like ADA-compliant features, gender-neutral restrooms, and a nursing room, while the addition of ground-floor public spaces and a transparent glass facade fostered openness and connection with the city. The reimagined hall now supports a wide range of performances and everyday uses, with adaptable theatrical lighting, improved acoustics, and a welcoming design that invites all visitors to feel at home. “What we tried to do is enable a multitude of types of artistry, events and programs, and we have seen that the audience responds and grows,” Wa noted. THE ARCHITECTURE OF MUTUAL CARE Wa considers herself an “advocate” when asked what type of architect she is. She became an architect at a young age and has accumulated over decades of experience. She described her early career: “I had no business doing what I was doing, except for the fact that I cared about something.” Skills can certainly be learned from various sources, but Wa emphasizes the question: “Are you taking care of someone or something?” In our increasingly complex societies, where the needs of diverse communities continue to evolve, the role of architecture—and the responsibility of architects—grows ever more indispensable. While buildings may rise from concrete and steel, it is the architect’s thoughtful investment of time, study, and insight that transforms them into spaces of meaning. By carefully interpreting and responding to a community’s needs, architects do more than design structures; they shape experiences, safeguard dignity, and create environments that reflect and serve the people who inhabit them. For Wa, an architect “is a trusted partner, an advocate for what is going to happen on a project.” When asked if there is anyone, living or dead, that she would have liked to collaborate with, she briefly mentioned the late philosopher Hannah Arendt, an influential figure whose background was shaped by mentorship, committed to public life and moral thinking. HOUSING AS OPPORTUNITY: RETHINKING STABILITY AND COMMUNITY As the chair of the Toronto Community Housing Design Review Panel, Sybil Wa was asked how architects could address the social needs of affordable housing residents. She explained that “the goal of housing is geared towards supporting people who need assistance temporarily. But within the community, they are connecting to more opportunities, more training, and more support, that would allow them to have something more permanent as a solution.” Her approach, shaped by values found in many Asian cultures, emphasizes well-being as a collective endeavor. For Wa, stability comes from shared responsibility and mutual care—principles she brings to housing that fosters connection rather than isolation. This philosophy is also present in Toronto’s affordable housing model, which brings together public funding, city-owned land, and partnerships with both private and non-profit developers to create housing that is inclusive and financially sustainable. “I do think that security is very important. People should feel secure and that the place is safe to live in,” Wa noted—pointing to a more expansive definition of stability, where feeling rooted within a community is just as vital as owning property. Her work demonstrates how thoughtful design can strengthen social bonds while meeting practical needs. QUITE LEADERSHIP: THE POWER OF HUMILITY AND COLLECTIVE ACTION While affordable housing developments have long carried a certain stigma, Wa’s work invites a reconsideration of how we define and support these communities. When housing is designed as a framework for opportunity—where residents are supported in building stable, independent lives—it becomes clear that the conversation should not center on deficit, but on potential. In that light, perhaps what deserves closer attention is not the communities themselves, but the systems that shape their conditions and our perceptions of them. The values guiding Sybil Wa’s work in housing—stability, dignity, and mutual care—are the same principles that shape her cultural and civic projects. Whether reimagining a world-class concert hall or helping steer affordable housing policy, she brings a consistent focus on access, responsiveness, and the architecture of daily life. Her emphasis on working together runs through it all—not only in how she collaborates, but in how she credits the process itself. There’s a humility in that stance, an understanding that architecture is rarely the work of one voice, and that attentive engagement is as critical as leadership. It’s a perspective rooted in her cultural background, where belonging is tied to responsibility, and care is a shared task. Wa’s leadership doesn’t draw attention to itself, but its impact is unmistakable. In its clarity, patience, and steadiness, it carries a kind of incandescence—felt not through spectacle, but through the spaces it makes possible. Sybil Wa and Princess Anne.png Sybil Wa.png Sybil Wa.jpeg Sybil Wa and Princess Anne.png 1/4 Images provided by Sybil Wa

Megan Foo Singaporean Artist Megan Foo : Objet Megan Foo : Winkm Megan Foo : Portrait Megan Foo : Objet 1/6 Images provided by: Megan Foo Maegzter (Megan Foo) is an emerging and the only neon artist in Singapore. In her practice, she explores the medium of traditional glass neon in innovative ways, subverting the belief that neon can only exist as outdoor signage. Some of her latest explorations include wearable neon and portable neon works, which can be powered by AA batteries. Megan’s journey into the world of neon has been unconventional. She graduated Magna Cum Laude from Singapore Management University’s (SMU) Business Management Program and worked at Sephora Southeast Asia before transitioning to life as an artist. Initially intrigued by the craft in Bayswater, Melbourne, she later honed her skills by apprenticing under a Taiwanese neon master in Hsinchu, Taiwan. To Megan, traditional glass neon possesses an alluring and unique quality that captivates others. She is particularly drawn to the fact that every piece must be made by hand, ensuring that the craft retains a human touch. In the near future, she hopes to continue using this medium to create more intriguing and collaborative works.

Kermit Tesoro Cultural Heritage and Sustainability: The Essence of Kermit Tesoro's Work Kermit Tesoro’s designs bloom with intricate beauty and untamed wildness, deeply rooted in the vibrant tapestry of tropical flora and fauna. As a master horticulturist, he cultivates each piece with meticulous care, drawing inspiration from the organic curves and textures of nature. His creations are not just garments and shoes, but living ecosystems, where fabrics intertwine like vines and textures blossom like exotic flowers. Tesoro’s fascination with cacti and succulents is evident in his work, where spiky embellishments and robust structures evoke the hardy yet alluring nature of these desert plants. His bold shoe designs, featuring towering heels and intricate patterns, push the boundaries of traditional footwear. Each stage of Tesoro’s design process is a period of extreme creative silence, a calm before the storm, where ideas germinate and take root in his imagination. As he nurtures these concepts to fruition, the anticipation builds until the final reveal erupts with provocative brilliance. His designs are a symphony of the natural world, transforming wearers into walking manifestations of the botanical wonderland he so passionately adores, reflecting the resilience and exotic beauty of both tropical and arid landscapes. FROM MANILA TO BERLIN A pioneering Filipino artist originally from Manila and now based in Berlin since 2018, Kermit Tesoro has electrified global fashion with audacious footwear creations, installation art, and fashion designs. Trained at Central Saint Martins University of the Arts London, the Fashion Institute of the Philippines, and the University of the Philippines College of Fine Arts, Tesoro gained prominence with avant-garde shoe designs and organic, abstract body-enhancing silhouettes showcased at Philippine Fashion Week for six consecutive seasons beginning in 2008. One of his earliest and notably innovative designs was his reinterpretation of the “Bakya,” a traditional Filipino wooden clog featuring towering 9” heels. This creation along with more than 100 designs from other artists were featured in the “Stepping in Pinoy Style” exhibition at the Yuchengco Museum in the Philippines in 2009, a visual conversation highlighting the cultural significance of traditional Filipino footwear. ICONIC DESIGNS The skull heel, or “The Seat of Intelligence,” a daring fusion of the macabre and the elegant, underwent an extensive two to three years design process according to Tesoro. The prominent skull on the heel, combined with neutral colors, is reminiscent of Georgia O’Keeffe’s painting “Ram’s Head.” The curvature of the shoes, like the flower on the painting, is a reminder of its conflicting elegance. This design went viral globally, inundating Tesoro’s Facebook inbox with messages. “If it wasn’t for the skull heel, I would be dust. It truly changed my life and opened many doors,” Tesoro reflects. Following his fourth runway show at Philippine Fashion Week in 2010, Tesoro was approached by Lady Gaga’s team, sparking a collaboration that catapulted him into international recognition. In 2011, Lady Gaga’s stylist, Nicolas Formichetti, commissioned Tesoro and Filipino artist Leeroy New to create an armor dress worn by Lady Gaga on the cover of “Marry the Night.” This collaboration solidified Tesoro’s place in the global high fashion arena. When discussing the balance between art and wearability, Tesoro explains that his primary focus is on artistic value rather than practicality. For instance, the shoes worn by Lady Gaga on red carpets, while orthopedically correct, were designed to be admired rather than for ease of movement. “If you love a pair of shoes enough, you’ll find a way to wear them,” he notes with humor. Tesoro recalls another instance when Madonna’s stylist, Bea Åkerlund, invited him to create shoes and clothing for Madonna’s 2011 Super Bowl performance. However, lacking practical considerations, particularly for a dance performance, his designs could not meet the requirements. This experience taught Tesoro the importance of balancing comfort with artistic integrity. Reflecting on his influences, Tesoro speaks about the profound impact of his mother, especially during the design phase of his 2014 conceptual project, Polypodis. Much to his sorrow, his mother passed away the same year, marking a tumultuous period for Tesoro. “When certain emotions or moods intervene, there is always a transformation,” he reflects. The Polypodis shoes, inspired by cephalopods and the sundew plant, solidified his reputation as an innovator on the global stage. The forms of the tentacles, also reminiscent of Medusa’s hair, evoke the complexity of human (the wearer) emotions and the evolution of thought through personal experiences. Tesoro’s affinity with horticulture has influenced his designs in both abstract and literal ways. In 2016, he introduced Equilibria, inspired by the Venus flytrap, which blends natural forms with the human foot. The form and coloration of Equilibria clearly reflect a more literal interpretation of the plant; the wearer's foot becomes the trapped fly. This collection was exhibited alongside Polypodis at Lichtenwald Castle in Germany. SUSTAINABILITY AND CULTURAL ROOTS His latest capsule collection, *Leucistic Observation*, seamlessly blends avant-garde elements with a modest approach inspired by traditional Filipino values. Named after leucism, a genetic condition in animals characterized by reduced pigmentation, the collection reflects Tesoro's ongoing exploration of subtle yet profound themes. The incognito layering of textures in pale and neutral colors, accented with speckles of gold, silver, and pearl beadwork, reveals itself only upon close inspection. This striking contrast between an initial impression of modesty and the bold character revealed through intricate weaving and embroidery makes the collection irresistibly captivating. Throughout his career, Tesoro has consistently incorporated sustainable materials such as banana fiber, rattan, bamboo, and recycled plastics, some sourced from beaches. In the Leucistic Observation collection, he emphasizes sustainability by using native Filipino pineapple fiber as the dominant material, along with abaca fiber, sinamay, and repurposed Capiz shells. Living in Berlin, Tesoro celebrates his Filipino roots through his use of native materials for Leucistic Observation, reflecting his emotional journey and cultural pride. His designs adhere to the Filipino national costume guidelines, ensuring respect for tradition while innovating sensibly. “I was taught in school that there are certain guidelines to follow to avoid bastardizing the national costumes. I wanted to stay true to that philosophy,” Tesoro explains, referring to his handling of the traditionally woven fibers for his garments. THOUGHT-PROVOKING ART AND FASHION Tesoro’s audacious work elicits strong reactions, challenges norms, and provokes taboos, touching on themes of sensuality and critical thought. Reflecting on his collaboration with Lady Gaga, which drew criticism from conservative Christian groups and led to his work being labeled as diabolical, he asserts, “Provoking emotion, whether positive or negative, is the goal—to move people to respond.” When asked which historical figure he would design for, Tesoro enthusiastically mentions Atang de la Rama, a prominent Filipino actress and singer celebrated as the “Queen of Kundiman.” Known for her exceptional performances of traditional Filipino love songs, Atang de la Rama made significant contributions to Philippine theater and cinema during the early to mid-20th century. Tesoro expressed his excitement at interpreting the “bakya,” or traditional Filipino dress, alongside other contemporary designs for her, saying, “I would love to dress her.” In contrast, when asked which celebrity he would like to design for at the MET Gala in New York City, Tesoro promptly replied, “Cate Blanchett! I love her! If given the opportunity to dress her or create something for her, I would be more than okay (hinting at pure bliss in life).” From his journey through triumphs, challenges, evolution, faced with both adorations and scrutinies, Tesoro advises young aspiring creators with unique visions to stay informed and rooted in their core values. "Being canceled isn't permanent. Identify your creative truth and defend it," Kermit encourages, emphasizing authenticity over fear of judgment in today's cancel culture. Kermit Tesoro's bold exploration of art and fashion transcends conventions, challenging the fashion world to embrace new perspectives and possibilities. As a Filipino artist, his upbringing in Paete, Laguna, known as "the carving capital of the Philippines" and his late mother's hometown, nurtured his principles of design versatility and innovative material use. This environment, rich with childhood memories and family experiences, instilled in him a deep appreciation for Filipino aesthetic traditions and cultural heritage, particularly the "bakya" culture. His dedication to horticulture and environmental sensibilities enrich his creative vision, while his advocacy for sustainability underscores the ethical foundation of his work. Tesoro's creations epitomize the power of creativity to provoke thought and reshape boundaries, marking him as an avant-garde artist on the global stage who remains genuine and true to his values. 1/5 Images provided by: Kermit Tesoro