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DAVAO’S UP AND COMING VISUAL ARTISTSPAOLO RAMIREZ, KEVIN BECIRA AND ALDUANE MANO

JULY 2013 / ISSUE No4LIEU

VISUAL ART ISSUE

No 4

LIEUnounstead; place (esp in the phrases in lieu, in lieu of)

CREATIVE DIRECTORAidx Paredes

CHIEF FINANCIAL OFFICERMichael Lu

ASSOCIATE CREATIVE DIRECTORAmelia Baird

HEAD WRITERChit Lacson

HEAD PHOTOGRAPHERNikko Zamora

ONLINE ADMINMo Jaravelo

WRITERSPat BacaltosJanna Moya

Ramon ErumFerdinand Mesias

ROLL CALL

EDITORIAL CONSULTANTS:Cheekie Albay, Jad Montenegro,

Kristine Serrano

IN LIEUPOOF Would You Rather.../Watercolor Girl/BLUESTarrt

HASHTAGBooks for Adults Also/

Art, Reinvented/Gravefresh/

The Sweet Sound of Resurrection

CLOSE ENCOUNTERSCOLOR CAROUSELFeat. Alduane Mano, Kevin Bacare and Paolo Ramirez

FILM ROLLThe Unconventional /

Faces /De Profundis /

POOF!

Where The Kids Are

MUSIC

LIEU MAGAZINE’S MIXTAPE NO 4Where The Kids Are by Blondfire / Punching in A Dream by The Naked and Famous / America by Imagine Dragons / Bankrupt by Phoenix / El-evator Letter by Stars / Golden by Hello Gravity / On Top of The World by

Imagine Dragons

RENEE GALENO is a 16 year old architecture student whose online portfolio caught our at-tention. Basically inspired by the odd and unconventional, she aims to tell and create stories with her illustrations.

Q: Be a minion or a monster?A: Monster.

FEATURED ARTIST

FEATURED ARTIST

WHO ARE YOU AND WHAT DO YOU DO?

Renee: I’m Renee Galeno, 16, currently a first year architecture student. I do illustrations for friends, my family, and myself and sometimes for commissioners.

TELL US WHAT MAKES YOUR ARTWORK A REFLECTION OF YOUR TASTE AND AESTHETICS AS AN ARTIST.

R: I’m a big fan of the unconventional. Since I was young, I’ve been drawn to art with fun concepts and odd subjects that can tell a story in one frame. There is something about having a lot of meaning and making no sense at the same time that make a piece interesting to me.

I’ve always wanted to be the type of artist that can tell a story through an illustration. The type of drawings people can talk about over coffee.

DOES ANYONE OR ANYTHING INSPIRE YOU TO CREATE THESE ARTWORKS?

R: The constant encouragement from my fam-ily and friends has always pushed me to be-come better at what I do.

WHO OR WHAT INFLUENCES YOUR STYLE?

My style, subjects, and even my favorite media

have been heavily influenced by artists like Daniela Uhlig, Lora Zombie, Agnes Cecile and many others. Their level of skill is something that I strive to achieve. I guess you could say that nothing inspires me more than the feeling of wanting to inspire others.

WHAT ARE THE THINGS THAT WE SHOULD SEE IN YOUR ARTWORKS?

R: A story. It can be the whole history of a character or just a tidbit from its life. I do try my best to create characters or scenes that can tell a good tale. I hope I can make peo-ple who see my work see the story its trying to tell.

WHICH DO YOU PRE-FER USING, WATER-COLOR OR PHOTO-

SHOP?

R: Definitely watercolors but I’ve recently come to enjoy colored pencils as

well. I use traditional me-dia more often than Pho-toshop, but it’s still some-

thing I hope I’ll improve at. I plan on doing more digital art in the future.

WHERE CAN WE FIND THE REST OF YOUR ARTWORKS?

R: I post almost all of my on my Instagram ac-count, @reneessiance. I’m currently working on a more permanent blog that will be up as soon as time permits, so look out for that.

WATERCOLOR GIRLRenee Galeno is an artist to watch for. Building her portfolio online, she creates surreal artworks

inspired by histories and tidbits of life’s wonders.By Aidx Paredes / Photos c/o Renee Galeno

EVENTS

BLUESTARRTBluestarrt is a party for the benefit of the children in San Augustin, IGACOS.Photos c/o Red Republic

YOU MISSED THIS?CRY NOW.

HASHTAG

BOOKS FOR ADULTS ALSO Text by Chit Lacson / Photography by Aidx Paredes

I have always loved to read. As a kid, I used to love it whenever my mom or dad would read bedtime stories to me before I hit the sack. Reading children’s books allowed me to go to

places I’ve never been to, experience flying, and meet awesome people. So imagine my thrill when I got to interview Davao-based children’s book illustrator Macky Pamintuan. His client list includes HarperCollins, Sterling Publishing, Simon & Schuster, Harcourt-Brace, Random House, Bloomsbury USA, Mcgraw-Hill, Scholastic, Soundprints,

Peaceable Kingdom Press, and many other American publishing houses.

Macky shares with LIEU how he got started, the challenges and perks of being an illustrator, and his advice on how to be successful in the field of illustration.

HOW DID YOU GET STARTED AS AN IL-LUSTRATOR?

I have studied in different schools here in Davao. But eventually, I had to fly to the States because my mom is a US citizen. And then I worked there on my own to survive. After a year I found out that I can study Fine Arts through student loan. So I studied BFA in Traditional Illustrations at the Academy of Art University for five years while working. I was a working student then. No support from my family. When I graduated, I had my portfolio ready. I contacted a lot of agents and anima-tion studios. Lahat rejected except for two. So I had two options: one from Chicago and one from New York. I signed up with the one in New York. Surprisingly, when I met the person, Filipina pala. That was 2003 and it all started from there.

HOW MUCH CREATIVE FREEDOM DO YOU GET?

It depends on the client and the scale of the project. When the character is licensed, I don’t have that much freedom. For example, Flat Stanley, he’s a character from the 1960s so I have to get permission from the family and the estate of the creator. Same with Nancy Drew, since she’s very known. But as to picture books, I have more freedom.

HOW DO YOU COPE WITH REJECTION IN YOUR WORK?

The ego is involved in art but you have to be careful. If you have a problem with showing your art to the public, hindi ka magsu-survive. Once you showcase your works, you should be open to criticisms. It might be shit to others, but that’s what you’re doing. If you can’t take criticisms, you will never improve..

STORY TELLER

STORY TELLER

WHAT’S THE BEST PART ABOUT WHAT YOU DO?

I get to do what I love. Cliché. I work at home and my kid is just in the other room, and I can surf the Inter-net while I’m working.

WHAT’S YOUR #1 TIP FOR THOSE WHO ASPIRE TO SUCCEED IN THIS FIELD?

Don’t be scared of showing your art out. Show it to people, whether it be in front of your family or your classmates. Show it to a business to get a job. The worst thing that could happen is they will say no. They might say they don’t like it. If this happens, the rejection will make you realize things. If this happens, then I think you will survive and you’ll still be fine. Do other art then. But if you’re scared of showing your art out because you fear rejection, then that’s not your line of work. Don’t be scared. Rejection is part of it. People may not like your work. But it’s that one or two that love your work that will help and inspire you to keep going.

Get to know more about Macky Pamintuan at http://www.mbartists.com/cgi-bin/iowa/artists.html?artist=61.

We rummaged into Macky’s personal sketchbook and found the only sketch he did of his daughter.

GRAFITTI

Basic art history tells us that cavemen drew on walls. A commute trip from Matina to Roxas can afford the wandering eye an unsolicited view of Davao City’s infamous graffiti. The analogy runs true for some; the act of illegally defacing publicly seen surfaces can speak of uncivilized, anti-intellectual and pointlessly rebellious – in a sense, caveman-like – behavior. Graffiti to many is a public nuisance and an aesthetic eyesore.

Just recently I was able to sit down with some of Davao City’s elusive bunch of graffiti artists. I sat down on a round table next to Maze, Payat and Juju (not their real names). Strange names, I’ll give you that, but as I quickly discovered, going about namelessly in the graffiti scene—at least to the general public and to the proper authorities—is essential, if not necessary.

The million-dollar question goes: in the wide array of choices from canvas, sketchpad, and digital tablet to virtually any art surface imaginable, why choose to express your deepest artistic cravings onto a public surface?

ART, REINVENTEDText by Janna Moya and Photography by Amelia Baird

GRAFITTI

In verbatim, my question went: unsay pulos sa graffiti?

The list can go on endlessly, but I picked up a few important and rather profound points. For Maze, it’s about the sense of urgency, the thrill and the adrenaline rush that comes with tagging, throw-ups, blockbusters, bombing, and a few other jargons that all basically mean the intricacy and distinct styles of graffiti. One important part is not getting caught by the “popos” (policemen), as he says with a straight face. For Payat, it’s about making a mark both in the most literal and metaphorical sense—it’s about putting your name out there so that, in a sense, you become immortal through graffiti. Meanwhile, Juju went on to repeat all throughout the interview this phrase: “reinventing the way we look at spaces”. As an organ-izer of events involving graffiti, oftentimes dubbed the art curator of local graffiti, she says that she was drawn to art early on because of the artistic networks she has formed through-out the years. Eventually she became a fixture in local events as well as a documenter for such. She’s out on a mission to tell us that we are looking at art in the wrong places.

Art shouldn’t remain in galleries, they say. This implies that they do consider what they do as an art form. Each seemingly senseless scrawl in graffiti has a story to tell, be it a secret message or a thought-provoking, anti-establishment remark. Many are designed to make you rethink the way you are living your life, and incidentally, that’s what contemporary art nes-tled in established galleries is all about. After the Renaissance Period, postmodern art, for example, was all about breaking the rules of antiquity. Although a cautionary tale remains: one should always be quick to think about the consequences of one’s actions. The reasons vary, but many graffiti artists can bravely say that they’ve gone the extra mile. For some graf-fiti artists, being thrown in jail is just a part of the entire task.

When asked if they had any other aspirations in life, Maze revealed that he wants to be a teacher and Payat, quickly admitting his own irony, a lawyer. As they’ve said, they are just normal kids who turned out to be artists.

So the question is left invisibly hanging and yet somehow answered. Why? You ask. Why not?

For these kids, it’s all about not getting caught. And afterwards, well—the world is their can-vas, and boy do they have a lot to tell us.

This is the panoramic view of the grafitti wall in Matina Town Square, Davao City.

GRAFITTI

CLOTHING

GRAVEFRESH Text by Ramon Erum / Photography by Nikko Zamora

Anywhere you look in Davao’s streets, you’re bound to spot folks sporting locally-made graphic tees. With designs that showcase different cultures and trends, the people behind these designs continue to prove that Filipinos have a boundless sense of creativity and craftsmanship. One of these local creative heroes is Ken Quiratman, the man behind Gravefresh, a Davao-based online

clothing imprint.

Ken shares that when he started Gravefresh, it was never about the money; it was about creating designs just to have fun. As time passed, he realized that there was more to creating designs for the sake of fun. He had a new vision, and that is to create a brand that is “different from what

normal people see.” Although he remains humble, insisting that his name is still very anonymous in the world of graphic design, there is no doubt that he is one of the most prolific visual artists

in Davao’s underground scene.

Ken says that when he was still starting out, the products were manually made through a silkscreen process. “I used regular paint and experimented with them,” he reveals. After realizing that this process was too strenuous and risky, he teamed up with a buddy of his who owns a printing business. The shirts are now mechanically made, yet the designs are anything but.

What drives him to get up from bed every morn-ing and create a design? He answered, simply: “I just want to have fun.” And according to the man him-self, the prices of his products are so cheap, he barely makes any profit from them.

Along with his buddies, Ken is planning to open a shop that not only sells and promotes the Gravefresh brand, but also features skateboard parts and acces-sories and houses a tattoo parlor. Due to his busy schedule, his day job, and other personal reasons, he has yet to find time for this, on top of creating new

designs. But he is targeting a date within the year for these plans to be pushed through, and he also pre-dicts that in August or September, he will be able to release new designs.

During his free time, Ken also helps stage music events in local rock bars here in Davao—more proof of his dedication to Davao’s underground culture.

Gravefresh is not just a clothing line; it is a brand. It is a brand born out of hard work, perseverance, and creativity. It takes guts to venture into the world of graphic design and t-shirt printing, especially when you have to contend with bigger, more established brands in the market. Go get yourself a Gravefresh shirt and wear that logo proudly.

Visit Gravefresh online at https://www.facebook.com/gravefreshclothing

Ever had your trusty pair of old headphones fade out and lose its lively punch on you? Did it make you want to just give up and throw them out? Well, fret no more! The Davao Audiophile Club has found a way to not only bring your headphones back to life but fix them up and give

them that extra oomph they’ve always lacked.

For the past year now, there has been a quiet but solid movement of headphone enthusiasts who enjoyed had the boon of having their old gear refurbished, re-cabled and reconfigured to not

only sound like new but give it an improved overall audio performance for the price of practical-ly a song. In this day and age of designer headphones, like Beats by Dr. Dre and all those other

brands, with their astronomical prices and glitzy labels, how is the simple layman or student-on-a-budget, who just wants quality for his ears without breaking his bank, able to compete with

this new trend? The answer lies with award-winning filmmaker and DIY guru Arnel Barbarona. Here, in this

comprehensive interview, LIEU MAGAZINE finds out how this technological Yoda and his co-horts have found a way to make the old like new and then some.

SWEET SOUND OF RESURRECTION

Text by Ferdinand Mesias / Photos c/o BLINQUE

MUSICLIEU: How did you get into revamping headphones? Is this a hobby or a passion of yours?

BARBARONA: I’ve always been into music, and I’m a musician as well. So when I heard that business-man Layan Uy and some other headphone enthu-siasts founded the Davao Audiophile Club (DAC), my interest in it was revived. I realized I wasn’t the only one who was into it, that there were others who shared my passion.

LIEU: At present, there seems to be a movement that revives old headphones, not only re-cabling and fixing them up, but actually improving their overall sound quality, you seem to be at the forefront of this trend. Care to tell us more about this?

BARBARONA: I’ve al-ways loved do-it-yourself projects. I enjoyed taking things apart and putting them back together as a kid. When I joined the DAC, I was challenged because there were a lot of enthusiasts and hobbyists who wanted to modify their headphones, so I decided to give it a try since I was al-ready adept at rewiring and modifying gadgets in my profession of film making. And it was nice watching a mediocre pair of head-phones having its sonic quality transformed and improved into studio-grade quality with just a few new wires, a rearrangement of its sound pads and a few globs of soldering iron. It wasn’t too expensive to do, but the new quality it gave off was astounding.

LIEU: The overall feedback of those who’ve had their units modified by you has been a resounding posi-tive. What can you say to those out there who are headphone enthusiasts, but don’t have the big budg-ets for the high-priced designer brands that are being peddled in the market today?

BARBARONA: To them I say, Dr. Dre who? (laughs boisterously) I’ve never seen the sense of spending

nearly Php 30,000 for a pair of headphones, when you can get a quality of sound even better than that for just a fraction of the price. All you have to do is know where and how to achieve that quality. For example, there is a device in the market called a Port-able Headphone Amplifier, what this gadget does is not just simply amplify the power of your head-phones but acts as an equalizer as well, adjusting the bass, mids and highs of your audio range and giving the instruments and voices better separation, which, in turn, lets you hear, very distinctly, every individual instrument being played, giving your audio experi-ence a smoother and more pleasurable quality. Plus, with prices beginning at Php 1,400, they’re a far cry from the 30 grand that’s sure to leave you broke.

LIEU: Word has also gotten out that you’ve started creating and sell-ing unique, handcrafted headphone stands for these units, and the buzz is, they’re quite amazing. Care to comment on this?

BARBARONA: That’s actually true. It all started as a fun experiment. I thought I’d make a headphone stand for my own pair using a man-nequin’s head I bought from a supplier, which I then spray-painted silver. It turned out so good, I started making more. I posted them on Facebook and suddenly, there were inquiries of whether I’d be interested in selling them

and how much they’d cost. So I said, “Fine. I’ll sell a few.” The interesting thing is some of those who’d bought my headphone stands have actually used them, not only to prop up their units, but as deco-rative ornaments as well. They’ve turned a totally utilitarian piece of gear into an objet d’art.

So there you are, ladies and gents. The sweet sound of resurrection need not cost an arm and a leg after all.

For further inquiries, search Arnel Barbarona on Facebook and drop him a private message there.

CLOSEENCOUNTERS

TEXT BY CHIT LACSON, JANNA MOYA AND RAMON ERUMPHOTOGRAPHY BY AIDX PAREDES

In our past issues, we’ve trained the spotlight on one of Manila’s indie scene queens, we’ve introduced you to an heir of a Davao dining empire, and we’ve given you a glimpse into the life of the city’s rising musical star.

This time, LIEU gives you three of the young visual artists to watch for in Davao City. One is a studio design stu-dio owner who had his first art book published already: Paolo Ramirez. The other is a female graphic artist whose distinctive artworks are drawn from swirls and nature: Kevin Becira. And the last one is a self-taught graphic designer who was featured in a maga-zine as one of the top 10 artists to look for in the Philippines: Alduane Maño.

Get to know more about these three artists by reading our interviews with them.

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COVER STORY

NAME: Alduane Cliff Gestopa MañoTOOLS OF TRADE: Mechanical pencil, eraser, sketch pad, pen tablet, and laptop.SUBJECTS OFTEN USED: Life, works in progress, breakfast, band merchandise and posters.INTERESTS: Food, music, travel, ani-mated films or films by Christopher Nolan, The Walking Dead, Big bang Theory, and Mythbusters.

HOW DID YOU GET STARTED AS A GRAPHIC ARTIST?I started doing shirt and poster de-signs for church events.

DO YOU HAVE A BACKGROUND IN ART EDUCATION?None. I am self-taught.

HOW WOULD YOU DESCRIBE YOUR STYLE? Basically, my style vintage cartoon-based il-lustrations. Over the years, my style has evolved into a gritty-grungy type with a more muted color scheme.

WHERE DO YOU DRAW INSPIRATION FROM?Cartoons, comic-books, films and the internet, mainly from social media. Some of the artists that have inspired and in-fluenced my work were JP Cuison, Barrett Colvin and Dave Quiggle.

HOW DO YOU DEAL WITH CREATIVE SLUMPS? I take a break, eat, watch a film and pray.

HOW DO YOU COPE WITH CRITICISM?I actually embrace criticism, especially constructive ones. It’s a way of seeing my blind spots and learning things I could improve on.

WHICH OF YOUR ARTWORKS ARE YOU MOST PROUD OF? Well, perhaps it would be the recent poster I did for Freedom Fest in Indiana, USA. It fea-tures some of my heroes in the international metal scene.

WHY DO YOU MAKE ART?I make art because I’m driven by a purpose.

WHAT IS YOUR GREATEST ACHIEVE-MENT?It was when I did an illustration for a motion graphic clip in a short documentary film about the Akha Tribe. My team and I spent three days in the Northern Mountains of Thailand. It was an awesome experience. We featured the amazing landscape and inspiring stories of people from the village. The process was very challenging, but it was worth it. I felt so

blessed seeing the people in the vil-lage smile because they felt honored and loved during the film-showing night. I am more than proud to have achieved some-thing that truly matters: making an impact in the lives of other people.

IF I AM ONE OF MY WORKS _________.I would probably be my logo/brand-ing. It’s a seed incorporated with a zombie head, and has a sprout on top: “The Seed Funeral”. I’m just fascinated about the process where-

in the seed has to be buried and broken down, for new life to emerge out of it. It illustrates the act of dying in order to be transformed into something new.

WITHOUT ART, __________.I would probably be a filmmaker and a mis-sionary.

NAME: Kevin Marie BeciraTOOLS OF THE TRADE: pens, pencils, watercolors and acrylic Pen, tablet and PhotoshopSubjects often used: Women, swirls and natureINTERESTS: Art, books, music and catsHOW DID YOU GET STARTED AS A GRAPHIC ARTIST?Watching cartoons and anime, as a kid, helped me start my interest in drawing. I began copying my favorite cartoon characters. Also, when I started reading books that fired up my imagination. From then on, I real-ized that visualizing the characters or events are not enough so I felt the need to draw them.

COVER STORY

DO YOU HAVE A BACKGROUND IN ART EDUCATION? I studied in UPDiliman Fine Arts, Visual Com-munications but I had to move to Davao so I tried to continue studying at PWC. However, I stopped eventually.

HOW WOULD YOU DESCRIBE YOUR STYLE? I got influenced by Disney Art and anime. My style evolved when I studied Fine Arts. I ex-plored styles from different art peri-ods and later on, I discovered my love for Art Nou-veau. It has greatly influenced my style since then. However, I don’t solidly stick to one. If I think a certain look would be great for a certain concept (especially when a client is involved), then my style would change.

WHERE DO YOU DRAW INSPIRA-TION FROM?I draw inspiration from various stuff such as books, movies, people, nature, or any random events that may trigger my creative impulses.How do you deal with creative slumps? Reading books, watching movies/TV series, eating food, going outside, and talk it over with some artist friends. It actually depends because there are also times that I just keep on drawing until the artist block just unblocks itself.

HOW DOES IT FEEL TO BE A WOMAN IN THE VISUAL ART INDUSTRY?I don’t really think about it that much. When

I create something, I lose myself in art, I for-get everything else. In the end it’s the art that matters and not who or where does the artist’s sexual category belongs.

HOW DO YOU COPE WITH CRITICISM?My artist’s ego gets in the way sometimes, but I try to drive it away and let the positive feed-backs sink in. I have learned the value of lis-tening to criticism from mentors, friends and from different people. It has contributed a lot

to the growth of my character as an artist.

WHICH OF YOUR ARTWORKS ARE YOU MOST PROUD OF? I have created a lot of works that made me proud. But I think I have not yet created the artwork that I am most proud of. I am the kind who never gets satisfied, so I create more and more.

WHY DO YOU MAKE ART? I make art because it’s painful not to.WHAT IS YOUR GREATEST ACHIEVEMENT?

Choosing to be an artist.

IF I WERE ONE OF MY WORKS, _________.I would still be me because every artwork I do is an extension of myself.

WITHOUT ART, ________. I would be dead. Haha! I’d be someone who makes music, perhaps.

COVER STORY

NAME: Paolo RamirezTOOLS OF THE TRADE: Notebook, Dong-A Gel Pen, Pencils (mechanical or otherwise), Wacom bamboo pen tablet, Adobe Photoshop.SUBJECTS OFTEN USED: Mostly surreal portraits of people.INTERESTS: I’m a huge movie & music fanatic. I love prints, art in gen-eral, and food.HOW DID YOU GET STARTED AS A GRAPHIC ARTIST?After quitting school, I worked at a printing house in Davao, and after that I tried my luck in Manila. I was juggling three jobs at the time. Un-fortunately it didn’t pan out the way that I expected it to. I find being in an office environment too sad because it feels like I am being constricted and caged.

DO YOU HAVE A BACKGROUND IN ART EDUCATION?I remembered copying my sister’s works when she enrolled in a weekly art class that special-ized in doing still-life before. When I moved to PWC during elementary, I was exposed to a lot of co-curricular activities. Over the years, I have learned to appreciate and do hone my skills in making art.

HOW WOULD YOU DESCRIBE YOUR STYLE?I guess I could call it surrealism or realism. Over the years, I’ve ventured into vector art, going back and forth with tradi-tional means, and most recently, a cartoony-charcoal-effect style that I use on my cli-ent’s works. I am still working on mastering body proportions and perspectives.

WHERE DO YOU DRAW INSPIRA-TION FROM?I take stock from my daily life main-ly from my experi-ences, the people I meet, the maga-zines and books I collect, the movies I watch, the food I eat, to even mundane things such as the afternoon light as it comes through my studio windows.

HOW DO YOU COPE UP WITH CREATIVE SLUMPS?I try to shake them off by going out and maybe grabbing something to eat from a new restau-rant or catching the premiere showing of a movie - anything that keeps my mind off the art briefly so that when I come back, I’ll be refreshed and more inclined to work.

HOW DO YOU COPE WITH CRITICISM?

I’m still learning and it’s nice to hear com-ments from people because they see things in a different light. When critics tend to be on the negative side, I acknowledge their comments and place them on the checklist of my next art-work. But mostly, I find myself to be my biggest critic.

WHICH OF YOUR ARTWORKS ARE YOU MOST PROUD OF? Picking a particular artwork is hard. I think it’s

the artwork that I just finished.

Why do you make art?I make art because I want to tell a story. Mainly, I just want to de-pict what I think has beauty and sometimes I don’t necessarily care as to having meaning attached to it - not everything has to have one for you to still enjoy it.

WHAT WOULD YOU CONSIDER AS YOUR GREAT-EST ACHIEVE-MENT?I’m happy that I was able to publish my first art book,

that I own a design studio even if it’s really hard to maintain and run a business, and for my upcoming solo exhibit. But what I consider to be one of my greatest achievements is push-ing myself to do all of those things yet I still manage to find new things to experience.

IF I WERE ONE OF MY WORKS, _________.I would be a subject of a portrait styled to look like the work of Delacroix.

WITHOUT ART, ________.I would be doing clerical desk job from 9 to 5. I go home after and watch TV while ‘til I fall asleep only to wake up to do the same things.

FILMROLL

CONTRIBUTIONS

THE UNCONVENTIONALIllustrations by Renee Galeno

FACESPhotos by Mirjam Dalire

DIGITAL ROLL

DIGITAL ROLL

ILLUSTRATION

DE PROFUNDISBy Zteff Baz

ILLUSTRATION