Category: Minnesota Street Project

Sharing more of the extended research & photography of my month long ARROZidency artist-in-residence.

If you are just starting here, I recommend scrolling to the bottom to start at the beginning. View from a computer for the full experience!

As another reminder, I've split up the work from my residency into 2 separate tags:

For my main residency project only, visit:

For the full extended roundup of my research during my residency, visit:

ARROZidency

It was Sunday, February 2, 2025. The rain was making its way through San Francisco & I had a ticket to the Asian Art Museum's free admission day. The rain was coming down & I remember being on the phone with my partner in the morning, asking him if I should still go, because it was raining & I wanted to be cozy. 😅 He encouraged me to go, because I may never get another chance to experience this again. I got dressed & had a short bike ride over to the museum from my sublet in Nob Hill.

I was hoping that even though it was the free admission day, that not many people would be there because it was raining. I was sadly mistaken, haha! It was a bit too crowded for my taste, too noisy, I had a hard time navigating the galleries, some of the galleries were closed for installation, & from what I did get to see, I wasn't really impressed with the exhibitions.

However, the main thing I wanted to experience at the museum was the lion dance performance. Having experienced my first lion dance performance just the year prior, I wanted to relive that electrifying feeling again.

While the program was sadly so unorganized, the performance itself was so much fun to experience. At this time, having just left LA for this residency as the fires were erupting, I wanted to bring back some good fortune and cast off any lingering bad energy before returning to LA.

🐍 I hope everyone is feeling the energy of rebirth and renewal as we all finish shedding our skin from the year of the wood snake. Now, as we enter the year of the fire horse, I wish everyone a happy Chinese New Year, Tết, and Seollal!

Fun fact: I was born in the year of the horse (in the 1900s)! The horse is known for being strong, independent & anti-authoritarian by nature. May we all channel our big fire horse energy this year as we dream of a future where authority & hierarchies no longer exist. ❤️‍🔥🐎

Shout out LionDanceME for their high-energy performance! Here's some photos of their performance from last year.

Photographs were created with my Nikon ZF & a 24-70mm lens.

Click any image below to enlarge.

Additional photos & research from the rest of my residency are forthcoming & will be tagged under ARROZidency.

Make sure to keep checking this space, follow me on Instagram, subscribe to my YouTube channel, or subscribe to my newsletter for updates on my blog posts, projects, or upcoming programs.

If you've read this far, thank you! Please feel free to share your thoughts or any questions in the comments.

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Art in & around San Francisco

2/14/2026

For the full extended roundup of my research during my residency, visit:

ARROZidency

My month in San Francisco for my ARROZidency was surrounded by art and creatives. I felt/feel incredibly fortunate & grateful for the experience, because I got to meet so many artists, as well as reconnect with artists & friends I hadn't seen in real life for a number of years. It was amazing to feel like I was immersed in a community of creatives again, & also have access to art everywhere. From my residency studio, its facilities & all the people who work there, to the galleries just across the street, to even the temp sublet I was renting in Nob Hill.

Of course, while spending my time getting creative & connecting with other artists, I also got to experience some exhibitions & soak up some inspiration that way. Here's a few shows I got to check out in-person!

Photographs were created with my Nikon ZF & a 24-70mm lens.

Click any image below to enlarge.

Spirit House at Cantor Arts Center at Stanford University

My residency host invited me, another artist at the studio (who was also a former AIR) & his spouse to check out the last few days of Spirit House at the Cantor Arts Center at Stanford University. You can check out a virtual tour of the program on their website. I appreciate that some institutions & arts spaces still offer this accessibility option for the many reasons some cannot make it to art exhibitions in-person. I also did not photograph every single work, just a few of my favorites. So definitely head over to their website to view the full exhibition of works & to learn more!

The artwork themselves were phenomenal, the collection was a great choice, & the placement of everything was very thoughtful. I have no notes or edits on the layout, selection, or the artwork at all. I just have a lot to say about exhibitions like these. However, I'm not an art critic, so I'm saving that discourse for real life conversations. If you know me, you already know how I feel about it. ;)

Stephanie H. Shih
Offering (Ash Tower), 2023
ceramic and steel

Amanda Phingbodhipakkiya
What Remains, 2024
rice boxes, paint, rice, rebar, wood, cast hands, beads, thread, rope, wire, and textile

right:
Cathy Lu
Banana Tree, 2023
ceramic and joss sticks

left:
Reagan Louie
Window, San Francisco, Chinatown, 2005
archival pigment print
edition 2 of 5

I might be biased, because I love photography (obviously) & didn't see a lot of of it in the exhibition, but Louie's photo was probably my favorite piece in the show. Not necessarily because it was a photograph, but the simplicity of a still life photo down to the smaller scale of the piece compared to the (sometimes) overwhelming size of everything else managed to say a lot. Sometimes less is more, & this piece truly embodied that for me. This was a peak into someone's world, something that was relatable for me in just this one small photo. I'm not Chinese, but it's something about the clutter and maximalism of a small space that speaks to the universal experience of growing up in a small immigrant household.

Nina Molloy
Shrine, 2021–2022
oil on canvas

Tuan Andrew Nguyen
Nothing Is Ever Lost, Nothing Ever Gained, 2022
brass from artillery shells, mounted on black stainless steel

Nothing Ever Dies, 2022
singing bowl pounded from 122 mm brass artillery shell, tuned to note G at 410 Hz

Tidawhitney Lek
Refuge, 2023
acrylic, pastel, and oil on canvas

Dinh Q. Lê
Cambodia Reamker #29, 2022
Epson inkjet print on Epson double-weight matte paper, acid-free double-sided tape, and PH-neutral linen book tape

Maia Cruz Palileo
Big Lolo, Little Lolo, 2021
wood, milk paint, table

Korakrit Arunanondchai
Shore of Security, 2022
repurposed wooden dollhouse made by the artist's mother, wood, house paint polyurethane, fabric sculpture, ceramics snake skeleton, and LED lights

Namita Paul
Testimony, 2023
canvas and gifted textiles, thread, gold leaf, gold spray paint, lentils, wheat berries, and photo transfer

I don't think these tapestries were technically part of the exhibition? There seems to be no clickable description about them in the virtual tour — so, unsure!

Friend & residency co-host Malou with her baby girl, Habibi!

Oscar yi Hou
Girl with the Dragon Tattoo, aka: Bushwick Bleeding Hearts Club, 2022
oil and gouache on canvas

Cian Dayrit's LibertIEs Were Taken at Root Division

I got to check out Cian Dayrit's solo exhibition Liberties Were Taken at Root Division during SF Art Week, a week-long celebrations of San Francisco's art scene that takes place across multiple galleries and creative spaces. I attended a curator-led walkthrough of the exhibition that was very informative, & the curator was a very professional presenter, making it was clear they did a lot of research and studying for this exhibition. Also got to meet a rad fellow photographer, Hunter, who works at the gallery & took this photo of me in action, haha!

Here were some of my fav pieces from the show. While I did enjoy the Spirit House exhibition a lot, I have to say I liked this one more. And not because the artist is Filipino, but I appreciate smaller community art spaces like these more over large institutions.

Minnesota Street Project's Dark Matter for SF Art Week 2025

Last but not least, I got to check out Dark Matter presented by The Space Program at Minnesota Street Project for SF Art Week, one of the main events of the week.

I was very lucky to have been located so close to this event, with the studios being just across the street. One of the artists at the studio whom I'd gotten to know over the month also had work part of this program. I also learnt this night, that the owner of Re.riddle (one of the gallery spaces at Minnesota Street Project) was also the curator of the exhibition I got to see at Edge on the Square! It was really amazing in the end how all my experiences connected with each other.

Below are a few of my fav pieces from Dark Matter, but here is a full list of works if you'd like you see what else was shown. Some of the work below was not part of the Dark Matter program, but from exhibitions at one of the galleries that were open during the opening night — so make sure to check out that image list for accuracy!

Maria A. Guzmán Capron and Seth Capron
Lap Chair
powder coated aluminum
19"x55"x55"
2025

Ben Venom
Night Flyers, 2024
hand-made quilt with fabric
39” x 51”

Rachelle Reichert
Wildfires, 2024
San Francisco Bay salt, redwood ashes from California wildfires, and mixed media on panel
48" x 48.5"

Jud Bergeron
Layered #1-4, 2024
ink and copper leaf on paper
33" x 25"

left:
Richard Colman
Untitled (Aluminum Leaf), 2024
20” x 23”
silkscreen, acrylic and aluminum leaf on paper

right:
Untitled (Gold Leaf), 2024
20” x 23”
silkscreen, acrylic and gold leaf on paper

Demetri Broxton
Just Beyond the Waters, 2025
sequins, glass and wood beads, rayon tassels, silver, quartz,
and cowrie shells on sateen cotton, linen, wool, and birch
21" x 38"

Andy Diaz Hope
Future Memory: Juniper, 2023
17" x 26" unframed
digital and physical collage, silkscreen, and photography on paper

left:
Oliver Hawk Holden
Watermelon inflatable in solidarity with Palestine, 2023
Ripstop nylon, HVAC fan, plywood, and sheet metal
8' x 8' x 16'

top right:
Jay Howell
22” x 24”
Untitled, 2024
5 color silkscreen

bottom right painting:
Yarrow Slaps
Castles burn and new grounds rise, 2024
12" x 12"
acrylic on canvas

bottom right sculptures:
Yarrow Slaps
Star Lady Plant Head and King Bruh Bruh w the glasses, 2024
ceramic

Charlene Tan
Kumot ng Bata, a Homage. 2024
silver leaf, abalone, capiz, cowrie shell, airport reflective glass beads, micro beads, paint, glue, and digital print on aluminum panel
54” x 72”

Gianluca Franzese
Arteries of the Earth, 2024
aluminum leaf, silver leaf, copper leaf, 12k white gold leaf, 18k and 22k gold leaf with acrylic glazes on panel
48 x 60.75"

Mildred Howard's Bottle Houses at Anglim/Trimble.

Kira Dominguez Hultgren’s Our daily parenthetical at Eleanor Harwood Gallery.

Works from Rena Bransten Gallery's Summoning group exhibition.

left:
Lava Thomas
I Walk in the Light of My Ancestors' Prayers, 2024
altered tambourines, acrylic marker on metallic leather, mirrored acrylic disks, grosgrain ribbon
59.5" x 115.25" x 2"

right:
Viviana Paredes
Everywhere / nowhere, 2018
cast glass, ceramic beads, steel plate
sculpture: 6" x 13" x 10"
steel plate: 15" x 13" x 0.25"

A final post & conclusion of my photos & research from my residency are forthcoming & will be tagged under ARROZidency.

Make sure to keep checking this space, follow me on Instagram, subscribe to my YouTube channel, or subscribe to my newsletter for updates on my blog posts, projects, or upcoming programs.

If you've read this far, thank you! Please feel free to share your thoughts or any questions in the comments.

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ARROZidency Research: Mission San Francisco de Asis & Mission Dolores Basilica

2/5/2026

For the full extended roundup of my research during my residency, visit:

A place I really wanted to visit during my time in the Bay was the San Francisco Mission, which I had just learnt was actually split into 2 different structures, including the Mission San Francicso de Asis & then Mission Dolores.

For anyone new here, I'm not religious, Catholic or Christian. However, I am interested in the history of the California Missions, because I'm interested in the parallels between the Natives of so-called California & the Natives of the so-called Philippines.

Strange, but one of my life goals is to someday visit all 21 California Missions. I've only visited 4. 😅

Anyways, as someone part of the Ilokano/Filipino-Californian diaspora, I'm interested in the parallels between our histories because we share the same colonisers — Spain & the so-called United States of America — with both still having a traumatic chokehold on our cultures. Whenever I visit a church in the Philippines, my first thought is, "This feels like I'm in California." And when I visit a church in California, I find myself thinking the reverse: "I feel like I'm in the Philippines." It's these feelings that lead me to believe that the Californian diasporic experience is particularly unique among Filipinos.

[ For some quick comparisons, check out my more recent photos of the church in San Juan, La Union, where my father was baptised in the 1930s & where we had his mass before his internment; the Namacpacan church in Luna, La Union; & the Basilica Minore del Santo Niño de Cebu, where I started my research for this residency. ]

The Mission in San Francisco is the oldest structure in the city & it also houses the oldest & only cemetery within the city limits. This was particularly interesting for me, because while I haven't been to many CA Missions yet, this is the only one I've been to (so far?) with a cemetery. I'll share more history on the cemetery below.

Starting with some exterior views of the Mission San Francisco de Asis, moving into the interior, to the cemetery, and to the interior of the Mission Dolores Basilica.

Photographs were created with my Nikon ZF & a 24-70mm lens.

Click any image below to enlarge.

Mission San Francisco de Asis Exterior

Mission San Francisco de Asis Interior

St. Joseph's Altar (1810). Anonymous. wood, gold leaf, oil paint.
Left to right: St. John of Capistrano, Saint Joseph, St. Bonaventure.

St. Anthony's Altar (1810). Anonymous. wood, gold leaf, oil paint.
Left to right: St. Pascual of Baylón, St. Anthony of Padua, St. Francis of Solano.

Reredos, Main Altar (1797). Anonymous. wood, gold leaf, oil paint.

According to church signage:

The reredos was crafted in Mexico and brought to the mission in 1797.

Clockwise from top left: St. Francis of Assisi in ecstasy. St. Joachim, father of Mary. St. Michael the Archangel. St. Clare of Assisi, founder of the order known as the Poor Clares. St. Francis of Assisi with the stigmata. St. Anne, mother of Mary. Crucifix. Mary under the title of the Immaculate Conception. Tabernacle.

After a quick search, I learnt that a reredos is a type of altarpiece.

According to Britannica:

altarpiece, work of art that decorates the space above and behind the altar in a Christian church. Painting, relief, and sculpture in the round have all been used in altarpieces, either alone or in combination. These artworks usually depict holy personages, saints, and biblical subjects.

Several technical terms are associated with altarpieces. The predella is a low, decorated strip intended to raise the main part of the altarpiece to a height where it is readily visible from a distance. A diptych is an altarpiece consisting of two painted panels, a triptych has three panels, and a polyptych has four or more panels. A winged altarpiece is one equipped with movable wings that can be opened or closed over a fixed central part, thereby allowing various representations to be exposed to view. The term reredos is used for an ornamental screen or partition that is not directly attached to the altar table but is affixed to the wall behind it. The term retable simply refers to any ornamental panel behind an altar.

Ceiling.

MISSION INNER-EXTERIOR + CEMETERY

Pictured right is the Mission museum, which houses a fair amount of Native crafts & artifacts from the Ohlone people. To be honest, I didn't want to take photos of any of it. 😕

Ceramic mosaic mural by San Francisco artist, Guillermo Granizo (1923-1996). According to Granizo, "In the garden of the mission is a mural of the Spanish Ship "San Carlos" that was sent by the Spaniards to the Pueblo San Francisco to sponsor and colonize the area."

Mission Dolores Cemetery

For centuries, the Native Raymatush Ohlone inhabited the peninsula. Near the Mission was once the Chutchui village, where Franciscan monks later decided to build the Mission.

While the church interiors were interesting to me, I was particularly drawn to the cemetery because it was my first time seeing one at one of the CA Missions. And it wasn't just interesting to me because I love gothic aesthetics! It actually has a disturbing & dark history (no pun intended).

Interred at this cemetery are around 5,000 Native Ohlone people. Sources say that they supposedly died due to bad weather & diseases brought from Europe. Somehow, I have a feeling the "bad weather" reason is a crock of shit. We all know by now that genocide of Native people via disease & illnesses is nothing new, especially now as we are witnessing the genocide of the Palestinian people, whom the Israeli government has blocked from receiving life-saving COVID-19 vaccines.

There's also no way I counted 5,000 headstones at this cemetery, so they were likely buried together in an unmarked mass grave. Like all the other CA Missions, this one was no different. It was built by the forced labor of CA Natives, who were called "Indios" & violently forced to convert to Catholicism & adopt a Spanish name — just like the Natives of the so-called Philippines.

Statue of St. Francis of Assisi.

What I find particularly resonant is the work of Ohlone descendants to honor their ancestors, who were wrongfully killed by Spanish colonisers on this property and buried here. In 2001, members of their community built this Ohlone tule hut as a lasting memorial to them.

I hope one day this statue of Junipero Serra is toppled, too. 😤

Also at this cemetery is a statue of Kateri Tekakwitha, who apparently was a Native Mohawk woman from New York who converted to Catholicism & later became a saint. Beneath her statue reads "In prayerful memory of our faithful Indians." Some believe she was placed in the cemetery to ease animosity between the Natives & the Mission, & to serve as a marker for those unnamed.

Unfortunately, I couldn't find who this statue is of. 😅 If you happen to know, please feel free to drop a comment! I did love the juxtaposition of the statue with the green & the orange cone, so I decided to keep these in color.

Mission Dolores Basilica

While the Mission San Francisco de Asis was founded in 1776 (technically JUST before the United States was established as a country!), the Mission Dolores Basilica was built 100 years after in 1876.

I don't know what more to say about this basilica, other than the fact that it reminds me of churches in the Philippines. 😅 This was the last space I visited at the Mission site. I didn't get any photos of the ceiling mural, but make sure to look up if you visit. While the small Mission church certainly had its own charm, the basically was epic in comparison.

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ARROZidency Studio Visits + Installation

1/27/2026

As I've concluded my main project for my residency, I'm now sharing the rest of my photography, research & experience during my month-long ARROZidency.

If you are just starting here, I recommend scrolling to the bottom to start at the beginning. View from a computer for the full experience!

As another reminder, I've split up the work from my residency into 2 separate tags:

For my main residency project only, visit:

For an extended roundup of my research during my residency, visit:

Prior to arriving in San Francisco, I was notified that we would be having a studio visit from a curator at the Asian Art Museum, just a few days after I settled into the studio. It was a bit stressful to prepare some work to present in advance! However, it was also exciting and satisfying. As a residency participant, I was happy I received the full experience that was advertised: the opportunity to connect with curators & other artists.

Of course, I could have gone simple & just made a few prints or brought in some older work, but I like making my life more difficult. 🥴 That also wouldn't have really resembled my aesthetic, & I wanted to present something closer to the type of work that I actually make.

By now, most people know that my work is mainly lens-based, but in the last decade I've been thinking a lot about grief & offerings to the metaphysical & what this can look like — so, like I've done in the past, I wanted the two practices to meet. A friend pointed out recently that I use a lot of red in my work, & I haven't been able to stop thinking about it ever since. For this installation, I wanted to stick to a color palette of red, gold & black as closely as possible, similar to the riso prints I made for this project.

And although it may seem like hoarding, I promise there's a method to my madness & a reason why I collect so much ephemera on any trips I take, & it's because I know they'll be used again for an installation at some point or repurposed in some way. The installation was untitled, but it combined my newer photography with ephemera collected from recent trips to the Philippines, with each tier serving as a mini altar and offering to each place or item.

original mock-up & Final Installation

Pictured left is the mock-up of the installation that I'd originally envisioned. As you can see, it had slight edits later, as well as some additions of items I didn't originally photograph for the mock-up.

When we think of altars & the spirit realms, we often think of tiers, namely the 3 tiers of the underworld, physical world, & spirit world. Originally, I'd wanted to create a 3-tier installation, which would have made more sense for me, but wall space was limited & I wanted a decent amount of spacing in between columns. I also think a lot about tiers when thinking about the homeland, & the tiered rice paddies throughout our region that have been tended to by generations of ancestors.

Everything from the collection of ephemera to the size choice is a reference to the maximalism & space limitations many of us experienced in working class immigrant households. Our family always wanted to maximise any small space to display as many memories as they could share, whether it was small printed photos from family gatherings, or prayer cards wedged into a corner of a frame.

Click any image below to enlarge. Installation shots were photographed with my Nikon ZF & a 24-70mm lens.

Ephemera

Most pictured here were used in the installation. Some ended up not being used, but I photographed them for the purposes of including them in mock-up designs. Some additional misc ephemera ended up being added at the last minute, because I randomly found them later in my junk collection (sadly, not pictured below).

I've always been in the practice of collecting ephemera from trips, both as memory keepsakes & also to think about how they could be repurposed in the future. While not all that is shown below ended up being used in the installation, each had its own significance that I look back on fondly. Here's a description list for each item. Click on an image below for its corresponding number, but it will go from left to right.

1. This rosary wasn’t collected in the Philippines. It was left on an altar I made for my late friend Xam, placed there by his mother. It goes on every altar installation I create now, & even though he is gone, it's my small way of inviting him.

2 & 7. Prayer booklets & prayer card in Bisaya & English, & mini statue that I purchased from a religious souvenir shop opposite the basilica in Cebu, where I also purchased my Santo Niño statue (#4).

3. Plane tickets on my first ever trip to Cebu — hopefully not the last trip, because there's still so much more I need to explore on that island!

4. Small wooden Santo Niño statue I purchased at the religious souvenir shop opposite the basilica in Cebu. This is the same statue I brought with me to get blessed during the two Santo Niño Fiestas photographed in my VENERATING AN ICON photo essay project.

5-6, 11. Prayer booklet & prayer cards I purchased at a religious souvenir shop at the Namacpacan Church in Luna, La Union — home of the largest image of the Mama Mary (Apo Baket) across the archipelago. More on this below.

8. Ceramic Santo Niño sculpture I found at a public market while shopping for woven items in San Fernando, La Union.

9. My memory is hazy, but I think I bought this rosary at the religious souvenir shop at Namacpacan Church, or possibly the one in Cebu.

10 & 13. Mama Mary keychain & screenprinted Ilokano prayer cloth from the religious souvenir shop at Namacpacan Church. My original mock-up incorporated the prayer cloth, but the size was so much bigger than everything else, it threw the design off-balance, so I scratched it.

12. Receipt from a clothing shop near the basilica in Cebu. Much like the Vatican in Italy, they JUST started enforcing a dress code only a couple of days before we visited. They wouldn't let me in, because they could see the backs of my knees! I had to find a shop nearby that sold long skirts that I could put over my dress.

14-16. Magnets we bought on the street next to the basilica in Cebu. I ended up not using any of these in the final installation, & instead ended up giving some to my residency host.

All of these were photographed on a table outside with my iPhone, then I uploaded them into Canva & used the background remover tool. 😅

PHOTO PRINTS:

Printed digital photos in order of appearance from left column to right column in the installation. Left column of photos were from my 2024 visit to Cebu City to visit the original image of the Santo Niño de Cebu. Left column of photos were from my 2024 visit to Luna, La Union to visit the Apo Baket. You can read more about both trips, the history, research & significance of them in my photo series Return Call.

I knew that for this installation, I wanted to include photography from my trip to Cebu, because it was closely related to the work I would be doing in my residency, photographing the Santo Niño Fiestas.

However, I decided to include photos of my recent trip to Luna, because similarly to the Santo Niño de Cebu, the Mama Mary in Luna also has miraculous lore behind her dating back to the Spanish colonial period. However, while it's true that her existence in Luna is miraculous, she gets nowhere near as much tourism as the Santo Niño de Cebu does, & seems more like just a local legend instead of an international wonder. I wanted to juxtapose the two, because while I may be Filipina, Cebu & the Bisayas are not my culture, as someone with origins in the Ilokano provinces of the Northern Philippines. I wanted to include something closer to our culture to be more representative of the local history of the region we're from.

Photos 1-4 were from Cebu. Photos 5-9 were from Luna.

Click an image below to enlarge.

Studio Visits:

Lastly, I got to have a few studio visits with some local artists & others. This residency was so busy, because nearly every day I was working on something, going somewhere, meeting someone, or having someone over for a studio visit.

Here are some photos from some of the visits I had:

Photos by Adrian Discipulo. It was exciting to meet Adrian for multiple reasons. Before starting the residency, I was raising funds & selling some of my work left over from an art fair a few months prior. Adrian ended up contacting me online for one of the prints. When asking for his mailing address, I saw he was based in NorCal & told him I would be there for a month, if he wanted to stop by the studio, because I appreciate trying to meet my buyers when I can. It eases my mind to know who I'm selling to is a decent person & the work will go to a good home.

Anyways, he ended up coming by. He is also a photographer, which was fun to have someone to talk about gear with! After getting to know each other a bit, we also learnt that our families are both from the same province in the Philippines, from neighboring towns! The town where my parents went to school & university, next to the town where they were born. It's always exciting to meet someone else from the same province, let alone town! We also got to check out some exhibition openings for San Francisco Art Week over at the Minnesota Street Project galleries, just opposite the studios. I will share these photos later!

The soft quality of Adrian's photos was my fav. Thank you for these!

Photos by Ellie Lopez. Ellie is a NorCal-based poet I got to work with on a photography x poetry program for my project MATA ART GALLERY. She ended up coming by to visit & bought some remaining prints. We ended up going on an impromptu visit to the San Francisco botanical garden, where we learnt we both love pro-wrestling, LOL! We had dinner at a vegan restaurant near the garden & ended the night with boba. It was great to spend 1:1 time with someone I kept in touch with online for so long. She was so kind, supportive & generous. Thank you for visiting!

Lastly, my older brother was kind enough to come up to visit me for a few days. He has a fond connection to the Bay, since he lived there for 7 years. We had so much fun doing classic San Francisco stuff, like riding the streetcars (which I haven't done since I was a kid), riding the ferris wheel, eating seafood & ice cream at the pier, & driving up to Petaluma to visit our cousin who had just given birth. He also helped me deinstall & pack up my studio, which felt so bittersweet. The month was so busy, it truly went by so fast.

Silly pics from my brother's iPhone below, because I can't always be serious about everything all the time! If you know, you know. *queues entrance music*

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Venerating an icon: Santo Niño in Contemporary Philippines & the Diaspora (Part 3 of 3)

1/27/2026

This is the last part of my 3-part series, VENERATING AN ICON. I originally was not planning to make a part 3, but recently came across the original proposal for this project & thought it would be fun to share. It's fun to look back at how I envisioned the project panning out & to have accomplished what I proposed!

Again, for anyone who's just hopping on to this series, I recommend scrolling to the bottom of & starting from part 1.

In case you missed it, I've split up the work from my residency into 2 separate tags:

For my main residency project only, visit:

For an extended roundup of my research during my residency, visit:

Nica Aquino x ARROZidency 2025 Proposal

Check out my proposal deck. After viewing the project, what do you think? Did I accomplish what I proposed, or is there more you would have liked to see?

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Venerating an icon: Santo Niño in Contemporary Philippines & the Diaspora (Part 2.3 of 3)

1/22/2026

This is the last section of the second part of my VENERATING AN ICON documentary photo essay. If you are starting here, I recommend scrolling to the bottom of this series & starting from part 1.

In case you missed it, I've split up the work from my residency into 2 separate tags:

For my main residency project only, visit:

For an extended roundup of my research during my residency, visit:

For this project, I was really excited to go back to my documentary photo roots. In my earlier photo work, I focused on documenting multicultural communities, sometimes with a special focus on their spiritual practices. I've documented many communities from Nichiren Daishonin Buddhism, Khmer Buddhism, Krishna Consciousness, to precolonial ritualistic practices of Mesoamerica, to Native American pow wows. Religion and spirituality weren’t central to my upbringing, but it was always present. Though I wasn’t raised Catholic, I was excited to document a community tied to my culture & the history of the Philippines. There's some major reasons why my parents decided not to raise me religious, which was a bold move for immigrant parents of their generation, but I'm grateful for that choice they made in raising me. Their choice allowed me to deepen my curiosity for diverse spiritual practices & led me to discover, study & practice my own spiritual & metaphysical beliefs in my day-to-day life & art.

Anyways, a lot has changed since my early documentary photo days. I first started off shooting strictly black & white film. I eventually started shooting color film once I lost access to a lab & discovered color film was cheaper to process. A couple of years ago I decided to expand my toolkit and purchased a digital camera for the first time, which I've enjoyed practicing & playing with.

I recently took an advanced lighting class & hoped to expand my toolkit even further. One thing I can say for sure is that these are some of the hardest photos I've ever edited. The church banquet hall had all sorts of different tinted overhead lightbulbs. I had to do so much masking to color correct different parts of the room in these photos, which was a time-consuming challenge on top of not compromising the high saturation aesthetic I go for in my color work.

All this to say, after taking this lighting class, I have a new appreciation for using flash & wonder if this could have been remedied had I brought my flash with me this time? Flash still intimidated me at that time, & after taking this class, I hope I can apply the skills I've learnt to continue documenting cultural events like these & producing the best images I can each time. I'm trying not to be scared of flash anymore!

Check out the photos & let me know what you would have done differently!

Images were photographed using my Nikon ZF & 24-70mm lens.

Click on an image below to enlarge. I recommend viewing from a computer for the full experience.

Even more people brought their Santo Niños this time & it was so cute seeing the diverse kinds that people owned! Some titas even shared interesting stories with me about how they came to own their Santo Niños. One tita told me she allegedly rescued her Santo Niño from the trash. 🤣 She legit told me this. Y'all think she was telling the truth or was she lying at church?

This is where all the titas got up & started dancing with their Santo Niños! France on the right with the sheer shawl dancing with the Santo Niño I brought from Cebu. 🕺🏻

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Venerating an icon: Santo Niño in Contemporary Philippines & the Diaspora (Part 2.2 of 3)

1/22/2026

The second part of this 3-part series is split into 3 sections, as it's quite long. If you are starting here, I recommend scrolling to the bottom of this series & starting from part 1.

Because these blog posts cannot support video embeds if there is a lot of media content, here is a short video from my YouTube channel that documents part of the Sinulog performance at the second Santo Niño Fiesta we attended. It was so cute seeing the titas get up & dance with their Santo Niños! The last part will have photos of the performance, but it just hits different watching the movements & hearing the sounds of the music & singing.

Video was filmed on my iPhone.

And again, in case you missed it, I've split up the work from my residency into 2 separate tags:

For my main residency project only, visit:

For an extended roundup of my research during my residency, visit:

2.3 will be the last section of part 2 of my main residency project series!

Make sure to keep checking this space, follow me on Instagram, subscribe to my YouTube channel, or subscribe to my newsletter for updates on my blog posts, projects, or upcoming programs.

If you've read this far, thank you! Please feel free to share your thoughts or any questions in the comments.

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Venerating an icon: Santo Niño in Contemporary Philippines & the Diaspora (Part 2.1 of 3)

1/22/2026

The second part of this 2-part series will, in itself, be split into 3 sections, as it's quite long. If you are starting here, I recommend scrolling to the bottom of this series & starting from part 1.

And, in case you missed it, I've split up the work from my residency into 2 separate tags:

For my main residency project only, visit:

For an extended roundup of my research during my residency, visit:

The second Santo Niño Fiesta we visited was at Saint Augustine Catholic Church in South San Francisco (which is its own city separate from the City of San Francisco). SSF is the city next to San Bruno, where the first fiesta took place. It is also adjacent to Daly City, where a large FilAm community resides.

South San Francisco was just a BART ride away from where I was staying in San Francisco proper. While the interior architecture of this church wasn't as interesting as the first church, there was a lot more to look at within the exterior church complex itself. It reminded me a lot of the churches I've visited in the Philippines. The church was also a lot more spacious, with more room for the Sinulog performance later on. I'll share those photos in parts 2.2-2.3!

This event was similar to the last one, where they had a procession for the Santo Niño, Mass, & people brought their own Santo Niños to be blessed. It was actually very exciting to see more people bring their images, & to see the many diverse kinds!

Images were photographed using my Nikon ZF & 24-70mm lens.

Click on an image below to enlarge. I recommend viewing from a computer for the full experience.

Sections 2.2 & 2.3 of part 2 are forthcoming, which will contain both photo & video!

Make sure to keep checking this space, follow me on Instagram, subscribe to my YouTube channel, or subscribe to my newsletter for updates on my blog posts, projects, or upcoming programs.

If you've read this far, thank you! Please feel free to share your thoughts or any questions in the comments.

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Venerating an icon: Santo Niño in Contemporary Philippines & the Diaspora (Part 1 of 3)

1/21/2026

2025 was an unpredictable year, but one of the best I've ever had. After losing my job in September 2024, I experienced a prolonged period of unemployment. Instead of immediately seeking new work, I chose to take time off and use my savings to take a risk & prioritise my creative growth — something I recognise is a massive privilege.

In February 2024, I had a visit at my home studio from the brilliant France Viana. At this point in my life, I had been ill for nearly four months, visiting doctors and specialists, and undergoing extensive medical testing. I needed some good news.

Before her visit, France & I were connecting via email through a mutual friend, & she ended up making her way down from the Bay & took the time to visit me during her very busy LA itinerary. We enjoyed tea & mochi on the deck, connected over the type of work we both make & themes we enjoy exploring. After learning we were interested in many of the same things, namely spirituality & the metaphysical, she generously extended a month-long artist residency at her studio at the Minnesota Street Project in San Francisco. I was elated.

During my ARROZidency, I focused on a documentary photo essay series centering the annual Santo Niño fiestas in the Bay Area — a celebration most of my NorCal friends didn't even know existed! This project then served as an extension of my work studying the Philippine-American diaspora, specifically the Californian diaspora.

Before the project, I did some background research in the Philippines and visited THE original Santo Niño de Cebu. I wanted to know why the Santo Niño was such a venerated icon in both the islands & the diaspora. When it finally came down to starting the residency & the project, I appreciated the background research I did, as it informed a different lens I couldn't have gone in with, had I not done any previous research or traced back the origins.

Fast-forward to today (January 2026), it took me over a year to finally complete the main part of this project (this does not include the extended research I did while in the Bay!). Following my ARROZidency, I immediately left for the Philippines where I lived for two months & completed another month-long residency (with work I'm also trying to finish!), then came back to the US to another drawn-out sequence of unexpected health issues.

This has been one of the most challenging projects I've worked on, as the photos were incredibly challenging to edit! But, more on that later. I'm excited to finally get this project off the ground & share about the work I made.

I've put together 2 tags for my 2025 ARROZidency:

For my main residency project only, visit:

For an extended roundup of my research during my residency, visit:

Since my ARROZidency project is quite long, I’ve broken it up into 3 parts, with part 2 further divided into 3 sections.

Some background on part 1: We attended 2 Santo Niño Fiestas, which I was not expecting, but was happy I got to experience both. We got into a bit of a kerfuffle with the first fiesta, because we were instructed on one location & were never informed that the event was being relocated. We were already running on Filipino time as it was, so we arrived at the location we thought we had to report to, only to find that no one was there! After getting a hold of the organisers, we were told that the location moved. 😅 It was a bit of a mess, but we eventually made it.

I hadn’t attended Mass since we buried my dad in the Philippines. Though I don’t share the Catholic Church’s beliefs and took on this project as a documentary exercise, I’ve always admired Catholic artistry and was genuinely excited when we arrived on location.

The first part of this series took place at Saint Robert's Catholic Church in San Bruno, California.

Images were photographed using my Nikon ZF & 24-70mm lens.

Click on an image below to enlarge. I recommend viewing from a computer for the full experience.

The Feast Day of the Santo Niño is typically celebrated on the third Sunday of January in the Philippines. The date celebrates the day the icon of the Holy Child was gifted to the Philippines by Ferdinand Magellan in the 1500s, marking the introduction of Christianity to the archipelago. This date could be confused with the day the image of the Holy Child was discovered in Cebu, but you can read more about these dates on the Basilica Minore del Santo Niño de Cebu website (the basilica in Cebu where the original Santo Niño lives).

In the Bay Area of Northern California, Catholic FilAm devotees come from all over the region to attend the annual Santo Niño Fiestas. They bring their own Santo Niño statues, which the priests go around to bless with holy water following the Mass. I brought my own Santo Niño, which I purchased at a gift shop opposite the basilica in Cebu.

After the blessing & conclusion of the Mass, it was followed by Sinulog dancers. Sinulog is a festival held in Cebu every third Sunday of January, celebrating the Santo Niño & the Christianization of the Philippines. Though originally a religious celebration, Cebu locals have shared with me that Sinulog has become much like Mardi Gras, drawing people from across the islands and around the world who come less for its religious meaning and more so to party.

For this Santo Niño Fiesta, I felt very lucky to experience it, because I was told this was the first time they ever invited Sinulog dancers to perform after the Mass!

Part 2 in itself will be broken up into 3 different sections, as it was even longer than this one! But the images are more exciting (in my opinion), & I'll have some video to share as well.

Make sure to keep checking this space, follow me on Instagram, subscribe to my YouTube channel, or subscribe to my newsletter for updates on my blog posts, projects, or upcoming programs.

If you've read this far, thank you! Please feel free to share your thoughts or any questions in the comments.

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First risograph prints ever!

2/13/2025

So excited to share the first risograph prints I've ever made, during my artist residency at ARROZidency, at OM France Studio at the Minnesota Street Project. I am absolutely IN LOVE with this process & it totally opened up a new format for me to present my photography, that never even crossed my mind. Huge thanks to Abby Banks for training me.

Back in undergrad, I did an internship at a screen printing shop & learnt all the various processes to make a print/design. Everything on the back end from color separation to layering the color registration during the printing process. The riso process was very familiar.

After a quick tutorial from Abby, I simply watched YouTube tutorials to get a rundown on the CMYK color separation process via Photoshop, created the design on PS using a photo from my recent Santo Niño Fiesta series (coming soon!), separated the colors out, printed the different color channels out for free at the public library, then ran them through the riso machine. It took days of practice, trial & error, & really understanding such an old, finicky machine. But the result was so worth it!

This summer, I am looking forward to taking a proper risograph training, so I can then have full-time access to a riso studio. I'm so thankful for this recent residency opportunity. Without it, I don't know if I would have ever thought to try bringing my photography to riso!

Here's some quick snaps from my phone, but I will make proper scans soon.

Stay tuned for my Santo Niño Fiesta photo documentary series coming soon, too. This cultural event is what I centered my residency project around & I look forward to sharing with you all who read my silly lil' blog. 😝

A run of test prints just on regular copier paper, when I was first practicing & learning to understand the machine.

Final prints on Bristol paper!

update 02.21.25:

Proper scan of the riso print, but the scan does the colors no justice!

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Return Call Part 6: Cebu Studies

11/30/2024