Silverlens Galleries

LOS ANGELES: Commonwealth and Council presents Vessels, a solo exhibition featuring the works of Nicole Coson, organized by Silverlens.

Spatially enveloping the gallery, Vessels features a series of large-scale canvases bearing the direct relief of commercial shipping container doors. Departing from traditional printmaking, Coson utilizes disused steel container doors as printing plates, applying raw canvas directly over inked surfaces and using body weight and hand tools to press every hinge, handle, and texture into the fabric. The resulting monumental impressions function as closed portals, reflecting on global trade, the unseen labor of supply chains, and the complex material politics of mobility and opacity.

VESSELS
📍 Commonwealth and Council
3006 W 7th St Ste 220, Los Angeles, CA 90005
19 September 2026 – 25 October 2026

📷 Photos by Paul Salveson courtesy of Commonwealth and Council

OHIO: Gina Osterloh presents Ricochet, a live two-hour performance featured in FotoFocus: Haunting at Beeler Gallery.

Dressed in a business suit, pumps, and a synthetic wig, Osterloh absorbs and regurgitates crowdsourced sexist and misogynist comments into a gallery corner, slurring the slurs to purge systemic harm. Informed by over two decades of refusing the camera’s gaze and referencing historic body performance, Ricochet transforms the body into a site of resistance. The exhibition, organized by Melissa Vogley Woods and Tim Reitenbach, also includes works by Amber Anderson, Hans Gindlesburger, Lori Kella, Kate Shannon, Lydia Smith, and Arne Svenson.

FOTOFOCUS: HAUNTING
📍 Beeler Gallery, Columbus College of Art & Design
60 Cleveland Ave, Columbus, OH 43215
3 September 2026 – 7 November 2026

Extending warmest birthday wishes to Chati Coronel!

Chati Coronel (b. 1970, Manila; lives and works in Toronto) is a painter whose three-decade practice probes the liminal territory between body and cosmos through a method she calls Figurative Spatialism. Layering atmospheric fields of colour within human silhouettes, Coronel treats the figure as a vessel through which metaphysical forces materialise.

🔗 Learn more about Chati Coronel via the link in bio.

Warm birthday greetings to National Artist Imelda Cajipe Endaya!

Imelda Cajipe Endaya (b. 1949, Manila, Philippines; lives and works in Manila, Philippines) is a National Artist of the Philippines for Visual Arts and the first woman to receive the distinction in the field.

The Order of National Artists, the country’s highest national recognition for Filipinos who have made distinct and significant contributions to Philippine arts and letters, honors Endaya’s more than five decades of pioneering work in feminist and socially engaged art. The distinction was conferred through Proclamation No. 1414, signed on September 1, 2026, upon the recommendation of the Cultural Center of the Philippines and the National Commission for Culture and the Arts.

Endaya’s distinctions also include the Ani ng Dangal Award from the National Commission for Culture and the Arts (2009), CCP Centennial Honors (1999), Araw ng Maynila Award (1998), and the CCP Thirteen Artists Award (1991), marking a sustained record of recognition throughout her career.

Since the 1970s, Endaya has developed a wide-ranging practice spanning mixed-media painting, printmaking, and installation. Grounded in the realities of Filipino life, her work addresses cultural identity, human rights, migration, family, reproductive health, globalization, children’s rights, the environment, and peace, with women’s lives and experiences at its center. Crochet, lace, textiles, windows, flatirons, suitcases, papier-mâché craft, and found objects from the home and popular culture recur throughout her richly layered works, forming a visual language that is distinctly Filipino and womanly.

🔗 Learn more about Imelda Cajipe Endaya via the link in bio.

Photos by Angelo Tantuico for Vogue Philippines

 Imelda Cajipe Endaya

DAVAO: Silverlens presents Untethered, an off-site exhibition bringing together Catalina Africa, Isabel & Alfredo Aquilizan, Is Jumalon, Pow Martinez, Bernardo Pacquing, and MM Yu for the first time in Davao. The exhibition runs from 2 to 4 October 2026 at Dusit Thani Residence Davao.

The artists arrive from different directions. Africa’s work carries the atmospheric pull of Baler; Jumalon’s is grounded in the spatial memory of Zamboanga; Pacquing and the Aquilizans have developed important connections to Mindanao through the Lubi Art Residency. Martinez and Yu approach painting through disruption, chance, and movement, allowing images and materials to resist fixed readings.

In Davao, these practices encounter a geography of their own. The city is not a backdrop or a stop along an established circuit, but part of the exhibition’s proposition: what changes when art is placed somewhere beyond its usual context? A work can loosen from the associations that surround it. Distance can make the familiar strange, while bringing different histories into unexpected proximity.

Untethered takes its cue from this shift. The works do not resolve into a single narrative of place, nor do they need to. Instead, they occupy a shared orbit shaped by Davao, by movement, and by the possibility that meaning can change when the point of reference changes.

🔗 Learn more about the exhibition via the link in bio.

NEW YORK: State of the Nations by Geraldine Javier opens today.

The opening reception begins tonight at 6:00 PM, and the exhibition runs through 24 October 2026.

“Every morning the artist Geraldine Javier with her dog Freya starts work by walking out into her garden to gather leaves, flowers and occasionally bits of bark. “Garden” here may not be the most accurate word. She lives in an old farm 2.3 hectares (5.7 acres) large, and now calls herself an “artist-farmer”. 

Over the last four years eco-printing has been so consuming a medium or process that she has had no time to paint. Eco-printing means to press the sap or pigment of leaves, roots, flowers and bark into paper or fabric. “I hope the audience will delight in nature and share my concern at the damage of it,” says Javier. Employing and supporting those people who live in her compound or the local barangay and who embroider (ten on this project), garden, or otherwise make the work possible is central to her. “It is very important to me that this work is very handmade and made with natural materials,” says Javier, “It is important to show that things like this can only be made by hand.”

— Tony Godfrey

🔗 Learn more about the exhibition via the link in bio.

 

Extending warmest birthday wishes to Hanna Pettyjohn!

Hanna Pettyjohn (b. 1983, Manila, Philippines; lives and works in Dallas, USA) is a Filipino-American artist whose practice combines sculptural installations with paintings in an exploration of identity and transnational narratives. Tinged with both nostalgia and an acute awareness of life’s transience, Pettyjohn’s practice is informed by fragments of memory, autobiographical details, and firsthand knowledge of the global diaspora. Through her large-scale portraits and personal photographs turned-tactile landscapes, she conveys the vague anxiety and alienation that afflict the uprooted.

🔗 Learn more about Hanna Pettyjohn via the link in bio.

Pettyjohn

Silverlens proudly congratulates Imelda Cajipe Endaya on being conferred the Order of National Artists of the Philippines for Visual Arts—the first woman visual artist to receive the distinction.

The country’s highest state honor for the arts recognizes Endaya’s five decades of groundbreaking work at the intersection of feminist art, social realism, cultural identity, and the Filipino diaspora.

Since the 1970s, Endaya has developed a deeply personal and political visual language, transforming everyday materials—textiles, lace, crochet, and found objects—into powerful sites of resistance, memory, and national history. As co-founder of KASIBULAN and the Pananaw Philippine Journal of Visual Arts, she has also been a tireless advocate for women artists and Filipino narratives.

Her works are held in major collections including the National Gallery Singapore, Fukuoka Asian Art Museum, and the Cultural Center of the Philippines. Her recognition as a National Artist marks a historic moment for Philippine art and affirms a practice that has consistently insisted on visibility, dignity, and the power of art to resist erasure.