Category: Viva Santo Niño

Venerating an icon: Santo Niño in Contemporary Philippines & the Diaspora (Part 1 of 2.3)

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:

VENERATING AN ICON

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

ARROZIDENCY

Since my ARROZidency project is quite long, I’ve broken it up into 2 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.

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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

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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. 😝