New York City welcomed Silverlens, a Manila-based gallery, last September, and since then, it has been making waves in the art scene. Riding the wave of success they experienced during the pandemic, gallery owners Isa Lorenzo and Rachel Rillo seized the opportunity to introduce Filipino art, particularly from the Philippines, to collectors and institutional curators in New York.
Located in Chelsea, Silverlens wasted no time in curating exhibitions that aimed to familiarize critics, institutions, and the public with Filipino art. Artists such as Yee I-Lann, Martha Atienza, and James Clar have already received exhibitions at Silverlens in New York. However, their latest group exhibition, titled “Shrines,” is a venture that aspires to something entirely different and more ambitious.
Lorenzo explained in an interview, “For those first five shows, we were asking questions like: Who do we think the American audience, curators, and critics know? Who do we think they would find important? But with ‘Shrines,’ we’re not thinking about an American audience. Here, we’re just showing you: this is what we believe in.”
“Shrines” brings together 16 artists from the Philippines and the Filipino diaspora, whose work draws on the country’s tradition of ancestor worship. The exhibition features various artworks that explore the theme, such as Noberto Roldan’s “100 Altars for Roberto Chabet/NO. 26” (2014–20). This work, constructed from architectural debris and found objects, pays homage to Roberto Chabet, considered the father of Filipino conceptual art.
While some works directly align with the theme, others, like Chati Coronel’s painting “Asterisk” (2019), offer a different perspective. Although it may not fit neatly into the shrine or talisman concept, Coronel’s spiritual work captures the essence of the human figure through a simplifying process, transcending defining characteristics. Her artwork integrates overlapping concepts from Buddhism and physics to represent the human form.
Mounting such an ambitious exhibition during summer may seem odd, as many New Yorkers retreat to their country homes. However, Lorenzo was determined to proceed, knowing that summer is when Filipino and Asian tourists visit the city. She hopes that they will encounter something that resonates with their home country. Furthermore, Lorenzo aimed to provide a gathering place and a safe space for Filipino and Asian Americans who have made New York their home.
The importance of the gallery’s role as a safe space became apparent as many Filipino and Filipino American visitors expressed how they felt a sense of belonging and visibility within the gallery’s exhibitions. Even artist Josh Kline, a friend of Lorenzo, only recently embraced his Filipino heritage and publicly acknowledged it in his recent show at the Whitney Museum.
Lorenzo’s commitment to the Filipino community inspired her to prioritize a show that speaks to their experiences. During the opening of “Shrines,” the success of Lorenzo’s vision became evident as Filipino attendees mingled with gallery-goers, creating a vibrant atmosphere of art appreciation and cultural connection.
Lorenzo shared, “For this show, there are no boxes we’re checking. We’re just showing you who we are. If you arrived in the Philippines on any given day, any given month, any given year, this is what you would see.”
Silverlens’ presence in New York continues to provide a platform for Filipino artists and strengthen the bonds within the Filipino American community, while also expanding the horizons of the city’s art scene with diverse perspectives and narratives.