Belmont Hotel Manila continues its commitment to championing Filipino creativity with “Hiraya: Beyond the Gallery,” featuring the first solo exhibition of Filipino landscape photographer Brix Tan.

The exhibition brings Tan’s collection of fine art landscape photography into the hotel, offering guests and visitors an opportunity to experience the beauty of the Philippines through his lens.

The exhibition is the latest chapter of “Hiraya,” the hotel’s platform for Filipino artists and creatives. Since its inception, “Hiraya” has provided a space for local talent to showcase their work and connect with new audiences, bringing Filipino art beyond the traditional gallery setting.

For Tan, the exhibition marks an important milestone in his photography journey.

“As a fine art landscape photographer, this is my Hiraya. To have my own solo exhibit, to share and showcase the beautiful landscapes of the Philippines,” Tan shared.

The collection presents Tan’s perspective of the Philippine landscape, featuring photographs from destinations including Batanes, Zambales, Mt. Pulag, Quezon, Batangas, Baler, Albay, and SOCCSKSARGEN.

Among the featured works are “Tenacious,” capturing the rugged coastline of Ivana, Batanes; “Gatekeeper,” featuring the Sabtang Lighthouse and its connection to Ivatan heritage; and “Generations,” which uses mangroves along Sarangani Bay to reflect on environmental responsibility and the future.

Adding another dimension to the exhibition is Tan’s LUMIBOX Series, where selected photographs are presented as illuminated fine art pieces, offering a distinctive way of experiencing the Philippine landscape.

An accomplished HR executive and entrepreneur, Tan has developed his photography practice over the years and has been recognized in international competitions for landscape and cityscape photography. His work combines technical composition with personal connection, using photography to tell stories through the places he encounters.

His commitment to the arts also extends beyond his own practice. Tan founded Montage Art Collective in 2021, an initiative that supports local painters, sculptors, and fine art photographers by helping them gain opportunities to enter the art scene and showcase their work.

This shared advocacy for Filipino artists is at the heart of “Hiraya.” By opening its spaces to creative collaborations and exhibitions, Belmont Hotel Manila continues to create opportunities for local artists while allowing guests, travelers, and the wider community to discover Filipino art in an accessible setting.

The featured artworks are available for purchase in limited editions, giving collectors and art enthusiasts the opportunity to own selected pieces from Tan’s first solo exhibition. Several works, including pieces from the LUMIBOX Series, are produced in editions of only 10.

“Hiraya: Beyond the Gallery” featuring Brix Tan is open for viewing at the hotel lobby until September 30, 2026.

The complete collection and artwork details are available through the digital catalogue at qrco.de/HirayaBeyondTheGallery.

For inquiries and purchases, guests may approach the hotel team during their visit.

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In partnership with Solaire Resort Quezon City, seasoned visual artist and event curator Ycoy Sitchon unveiled Heliora on August 7 through an exclusive artist reception. The evening commenced with a ribbon-cutting ceremony and celebratory toast marking the exhibit’s official opening. Joining the occasion were Damian Quayle, Chief Operating Officer of Solaire Resort Quezon City, Sam Wilkes, Vice President for Food & Beverage of Solaire Resort, Joaquin Teotico, Owner and President of Galerie Joaquin Group, and the artist herself, Ycoy Sitchon, who fittingly celebrated her birthday on the same day.

Defined by flourishing florals, vibrant butterflies, and richly layered textures, Heliora showcases a compelling collection of paintings and large-scale installations that invite guests into Sitchon’s dynamic artistic world. The exhibition will be open to the public from August 8 to October 31, 2026, with featured works available for purchase. Solaire Rewards members may enjoy exclusive rates of up to 20-percent off on selected artworks.

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Luxent Hotel officially opened Pamumukadkad: An August Blossom Hallway Art Exhibit, a month-long celebration of Filipino artistry presented in partnership with Daloy Likha Art Gallery, reaffirming the hotel’s commitment to supporting local artists and creating meaningful cultural experiences for its guests.

Held at the hotel’s Blossom Hallway, the exhibit transforms the space into a vibrant gallery featuring the inspiring works of four talented Filipino artists—Rebie Abas, Noel P. Bueza, Rinaldi de Guzman, and Vincent Bueza—each presenting unique artistic perspectives through a diverse collection of contemporary artworks.

The exhibit officially opened with a ribbon-cutting ceremony attended by hotel executives, representatives from the Quezon City Tourism Department (QCTD), members of the media, corporate partners, sponsors, distinguished guests, and members of the local art community.

Derived from the Filipino word meaning “to bloom,” Pamumukadkad symbolizes growth, creativity, and new beginnings. Inspired by Luxent Hotel’s Blossom Hallway, the exhibit reflects the flourishing of Filipino talent while providing artists with a platform to share their stories and creative expressions with a wider audience.

The opening reception was made possible through the generous support of the hotel’s valued partners, including Styled by Quinn as the Official Event Styling Partner, Happy Burritos as the Official Grazing Table Partner, Destileria Limtuaco & Co. Inc. as the Official Cocktail Partner, and Patrick Garillo as the Official Photography Partner.

Guests were also treated to a guided gallery walk, allowing them to engage with the featured artists and gain deeper insight into the inspiration behind each artwork.

As part of its ongoing commitment to promoting local arts and culture, Luxent Hotel invites guests, art enthusiasts, and the public to visit Pamumukadkad: An August Blossom Hallway Art Exhibit throughout the month of August and experience a thoughtfully curated showcase of Filipino creativity.

The exhibit is open daily at the Blossom Hallway, Luxent Hotel, Quezon City.

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Conrad Manila proudly presents the 42nd edition of its signature Of Art and Wine series with Intimate Reflections by Spencer Ozo, currently on exhibit at Gallery C until September 26, 2026. Curated by resident curator Nestor Jardin, the 25-piece exhibition offers a deeply personal exploration of vulnerability, resilience, and the evolving journey of self-understanding.

“Through Intimate Reflections, our very own Spencer Ozo invites viewers to reflect on their own journeys of growth and self-discovery,” said Rupert Hallam, General Manager of Conrad Manila. “As a valued member of our team, Spencer embodies our commitment to nurturing an environment where team members are empowered to pursue their passions, unlock their potential, and express their creativity both within and beyond the workplace.”

Spencer Ozo has been a valued member of the Conrad Manila team since 2017. While serving as the hotel’s front office manager, ensuring seamless stays and inspiring experiences for guests, he has also established himself as a distinguished artist. His artistic journey gained momentum with his first exhibition at Gallery C in 2022, marking the beginning of a growing presence in the local art scene.

In Intimate Reflections, Ozo creates a compelling dialogue between abstract and figurative forms, revealing the intersection between inner consciousness and external experience. His abstract works harness color, texture, and movement to express emotions beyond words, while his figurative pieces ground these sentiments in lived realities and human connections. Together, the collection presents a nuanced visual narrative of personal transformation and self-awareness.

“Art has been instrumental in shaping my understanding of who I am,” shared featured artist Spencer Ozo. “It allows me to navigate personal histories, cultural influences, and emotional truths with honesty and intention. The interplay of light and color throughout my works reflects my belief that clarity and hope can emerge even amidst uncertainty. Through this collection, I hope to encourage reflection and meaningful conversations about identity, growth, and the shared human experience,” he added.

The exhibition opened in the presence of esteemed guests, including Elizabeth Sy, President of SM Hotels and Conventions Corporation; Peggy Angeles, Executive Vice President of SM Hotels and Conventions Corporation; Rupert Hallam, General Manager of Conrad Manila; and featured artist Spencer Ozo.

All artworks on exhibit at Gallery C are available for acquisition. For inquiries and more information, guests and art collectors may contact (+632) 8833-9999 or email Conrad.Manila.info@conradhotels.com.

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Conrad Manila officially announces the opening of submissions for the upcoming editions of Gallery C’s Of Art and Wine series, welcoming proposals from both emerging and established artists. As the hotel approaches the 10th anniversary of its renowned art gallery in early 2027, Gallery C, led by esteemed art connoisseur and curator Nestor Jardin launches newly refined guidelines designed to ensure a culturally enriching experience for guests.

“Conrad Manila envisions Gallery C as a home to Philippine contemporary arts,” shared Rupert Hallam, General Manager of Conrad Manila. “Every exhibition mounted in this space reflects our ongoing commitment to championing Filipino artists by showcasing compelling works that resonate with both art enthusiasts and our discerning guests. As we celebrate our tenth anniversary year, we strengthen this advocacy by inviting exhibit proposals that embody artistic excellence while aligning seamlessly with our brand’s identity.”

Situated on the third level of Conrad Manila, Gallery C opened in November 2016 with an inaugural exhibition featuring Filipino visual arts grantees of the Asian Cultural Council (ACC), a global nonprofit promoting intercultural artistic exchange. Since then, the gallery has remained a dynamic, non-commercial space dedicated to exceptional Philippine contemporary art, spotlighting rising talents, established practitioners, and master artists.

Gallery C resident curator Nestor Jardin added, “World-class Filipino artistry continues to take center stage at Gallery C. Since our inception, we have mounted 40 solo and group exhibitions, featuring over 200 Filipino visual artists through the much celebrated Of Art and Wine series. With our standardized selection process now in place, we look forward to presenting an even more diverse and captivating roster of exhibitions.”

Conrad Manila’s commitment to celebrating Philippine art extends beyond Gallery C. The hotel proudly houses 737 artworks created by both established and emerging Filipino visual artists, each piece thoughtfully curated to reflect the country’s rich cultural narratives. For more information on Conrad Manila’s art installations or to submit exhibit proposals, artists and enthusiasts may contact Aly Castro, Gallery C Manager, at aly.castro@gallery-c.org.

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By Roel Hoang Manipon

Every year, residents of Tabawan Island gather for one of their important celebrations, the Pagkamboan. Those living or working in other places but who trace their roots to the island return home to be with families and friends for a tradition of honoring and remembering the dead and the spirits of ancestors, practiced even before the arrival of Islam in Tawi-Tawi.

Tawi-Tawi, a cluster of islands between the Sulu and Celebes Seas, is the southernmost province of the Philippines, predominantly populated by the Sama, the seafaring people of Maritime Southeast whose traditional home range also includes parts of Malaysia and Indonesia. The Philippine Sama is generally grouped into the land-dwelling Sama Diliya and the mostly sea-dwelling Sama Dilaut, who are known for their houses built over the water and standing on stilts.

I have been coming to Tawi-Tawi for several times, fascinated with the Sama ways of life and traditional cultures. This time, we were going to Tabawan Island upon the invitation of Omarjan Ibrahim Jahuran, writer, cultural worker and Indigenous Peoples Mandatory Representative of the municipality of South Ubian.

After about two hours on a speedboat from Bongao, the capital of Tawi-Tawi, that sliced through the Celebes Sea, we arrived in Tabawan Island, the main island of South Ubian, in the northeast part of the province, a day before the Pagkamboan, which fell on March 5 in 2024. Pagkamboan is celebrated three to five days before the start of Ramadan, a time for fasting in Islam, in the Islamic lunar month of Nisfu.

The Sama Tabawan live in about four residential clusters, in houses built on stilts over the water, on the shores of the island, leaving most of the land area uninhabited. The Sama are afraid of ghosts which haunt the land but cannot cross the water, joked Jahuran, who has been advocating for the safeguarding of the heritage and traditions of his home island including the Pagkamboan.

While the Pagkamboan is still practiced in some communities in Tawi-Tawi, Tabawan’s celebration is most likely the biggest and most vibrant, and the Pagkamboan is one of the most compelling manifestation of the ancient practice of ancestor veneration that survives until today among the Sama people.

Many believe that Islam was brought to Tawi-Tawi by Sheikh Karim’ul Makhdum, said to be an Arab missionary from Syria, who arrived in 1380 in Simunul Island (Some say in Sibutu Island).

However, ancestor veneration still survives in some form or way, mostly syncretized with the prevalent religion, especially among the Sama Tabawan. It is in our way of life, said Jahuran. And this can be observed in everyday life, not just during Pagkamboan.

While at the house of the grandmother of Almunshar Alpha Astarani, one of our guides, we noticed an empty room, reserved for the spirits of the family’s ancestors, should they decide to stay or rest for a while. While it is not forbidden to stay or sleep in the room, no one uses the room. The big houses for the ancestors, the luma pagkamboan, have similar purposes.

An important part of Pagkamboan is visiting the grave site, which is located on Bumbun at the northwest tip of Tabawan. Yearly, Tabawan residents make a pilgrimage to the gravesite to take care of the graves of their dead and perform rituals. Even the day before Pagkamboan, some residents visited the site to avoid the crowd.

While most of Bumbun is dedicated to the Muslim dead, there is an area for the Catholic dead. The town has a very small population of Catholics and even Chinese-Filipino. Some residents tell stories about a creature that prowls Bumbun Island. The kangkang laut, which looks like a large monitor lizard or even a dinosaur, is said to emerge at midnight to dig up fresh graves and devour the newly buried dead.

The day before the Pagkamboan, residents were already preparing, particularly cooking the two foods that are always present during the special occasions—the panyam and the jah—both made of rice flour.

We met 61-year-old Jannatun Jahuran, who has finished making trays of panyam.

“This is the panyam to be included in the dulang (food tray) for the prayer to our ancestors tomorrow that we call kamboan, during the month of Sha’aban. Panyam and jah should always be present for the prayer ritual during kambo’an especially here in our community, in the barangay of Tangngah. We should offer these rice cakes for our dead ancestors,” she explained in her native Tabawan dialect of the Central Sama or Sinama language.

In a nearby house, we observed another woman cook the cake. Rice flour, brown sugar and coconut milk were mixed to form the batter, which was then fried in oil. Using a wooden stick, she made dents on the edges of the cake to make it look like a flower.

At another house, we met 28-year-old Marhaini Asande, making the jah. She said she learned how to cook jah from her neighbor.

With the panyam and the jah already prepared and the sun slowly setting in a blinding blaze over the water with rays piercing through cracks and slits of the langgal and the luma maheya, residents readied themselves for more cooking and the trip to the graveyard the following day.

The day of the Pagkamboan started early. Before the sun rose as the community was still sleeping, elders and religious leaders gathered for a meeting inside the luma maheya and decided to go to Bumbun ahead of the crowd to perform the little rituals on each grave, knowing they would be pulled here and there by people to say a prayer on the graves of relatives and family members. As the rays of the sun crept through the rows of roofs, the elders boarded a boat and headed to Bumbun.

By seven in the morning, families, groups of friends and their guests in small boats started to make their way to the graveyard island. Later, more boats appeared until a line of boats has formed like a procession on water. The shore of Bumbun would be covered with boats. Those who arrived late would have to hop from boat to boat to reach the shore.

The graves were marked by the sunduk, the grave marker of the Sama, made of wood or stone. There are two kinds of sunduk—the phallic ones, indicating the dead was male and the flat ones, indicating the dead was female. The traditional ones are characterized by decorative carvings called ukkil or okir.

The graveyard was now busy with people. For Catholic Filipinos, the scene is reminiscent of the undas on November 1.

Tabawan residents gathered sand and replenished the graves that have eroded through the year. Elders or imams performed the ceremonial pouring of water using a coconut shell over the sunduk and recited prayers or supplications. Some would leave items, such as cigarettes, favorites of the dead when they were still living, as offerings.

By late morning, residents returned to their homes and continued preparing food for offering and feasting. The food items, dishes and drinks went to the preparation of the dulang, which refers to the traditional circular food trays, as well as the arrangement of food on the dulang, or modern receptacles in place of the dulang. Plastic or aluminum tubs or basins are now commonly used.

We dropped by the busy kitchen of Tang-ngah barangay captain Nuthamima Abdurajak Sarajan, who was cooking up a feast with the help of her sisters Sitti Jumliha Abdurajak and Nurbaria Abdurajak, constantly moving around kitchen and dissipating the steam that came out from the pots. They showed us the different stews and their wadjit, a sweet treat made of black glutinous rice.

By noon, residents began bringing their dulangs to the luma pagkamboan in their area. We passed by the luma pagkamboan in the barangay of Laud, which was beginning to be filled with dulangs. But the Tang-ngah luma pagkamboan has been the most popular one for residents. Soon, the house overflowed with dulangs, spilling into the letehan. More people still arrived bearing their dulangs. Those who resided far from the luma pagkamboan arrived by boats.

Surrounded by a sea of dulangs inside the luma pagkamboan, the elders and imams started the pagduwa-a, praying for thanksgiving and supplications to the ancestor spirits, both in the Central Sama, the language of their ancestors, and in Arabic, the language of their religion, and inviting them to partake of the feast or food offerings.

“Pagkamboan recognizes the interconnection, interdependence and harmonious relationship between the world of the living and the ancestral spirits and dead members of the community, who they invoke and talk to from time to time in the graveyard or in the ancestors’ house as if they are beings in a different dimension or parallel universe,” Jahuran explained.

He said, “This shared communal value provides social cohesion among the inhabitants of the island community.”

Though still practiced, the Pagkamboan is in danger of vanishing together with other traditions, many distinct to the island. The old, traditional structures are also experiencing disrepair. A heritage advocate, Jahuran authored an ordinance identifying Tabawan’s intangible and tangible pusaka kamboan or cultural heritage and mandating their safeguarding. It was unanimously passed on November 16, 2020. The list included structures and sites such as the langgal, the luma maheya, the Bohe Deya or forest well, the entosan (traditional log pressing mechanism), laitan (an island for sail stitching), Kuta Tabawan or Tabawan Fort, which some believe to have been built before the arrival of Islam, and Bumbun. Identified intangible cultural heritage elements are paghinang sunduk or the making of traditional wooden grave markers; pag-anom tepo Tabawan or the weaving of Tabawan mats; pagjamu, the communal spirit appeasement ritual; pagduwata, a healing ritual; igal Tabawan, or traditional dance with steps unique to Tabawan; tagunggu’an Tabawan or titik Tabawan, traditional ensemble music; panyam maka ja or the making of traditional ritual rice cakes; and the Pagkamboan.

After the pagduwa-a, residents retrieved their dulangs and brought them to their homes. The feasting began, where everyone is invited. We had the honor to partake of a meal with the village elders. Our hosts invited us to a second one in their home. There would be more invitations to eat as we wound our way through the community. A large family and their friends and neighbors partook of a feast laid out on the walkway beside their house, and anyone who passed by is invited to join in.

Here in Tabawan Island during Pagkamboan, food is also an important part bringing together people, even of different cultures, strangers and friends, and it also connects the living and the departed, those who are away to home, the body and the spirit, and the past and the present and hopefully the future.

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Co returns to Conrad Manila with a new solo exhibition of kinetic sculptures that encourage guests to reflect on the uncertainty and possibilities of the future.

Conrad Manila unveils the 41st installment of its highly acclaimed Of Art and Wine series with Harbinger Metropolis by Ivan Co, now on exhibit at Gallery C until July 25, 2026. Featuring 10 visually compelling and thought-provoking kinetic sculptures, expertly curated by resident curator Nestor Jardin, this latest exhibition offers a powerful meditation on the accelerating pace of progress, and the choices humanity faces on the threshold of an unpredictable future.

“Ivan Co’s works are a compelling centerpiece to the celebration of Conrad Manila’s 10th anniversary this June,” said Rupert Hallam, General Manager of Conrad Manila. “Magnificent in form and profound in meaning, the collection invites guests to reflect on both the uncertainty and the boundless possibilities of what lies ahead. It seamlessly aligns with the hotel’s commitment to providing meaningful and enriching experiences.”

Harbinger Metropolis showcases 10 meticulously crafted automaton, gravitram, and pendulum sculptures adorned with semi-precious gemstones. Through these dynamic works, Co depicts a world in constant motion, alluding to the transformative shifts already underway. Rather than offering definitive answers, the collection sparks curiosity and encourages viewers to contemplate the evolving landscape shaped by rapid technological advancement.

 “The intricate gears of the automaton, the relentless journey of the gravitram, and the hypnotic swing of the pendulum all serve as harbingers, which are symbols of the accelerating change that will inevitably reshape our urban landscapes and our very existence,” featured artist Ivan Co shared. “Through this collection, I invite all viewers to confront the precipice of a new era, where the boundaries between utopia and dystopia blur into an uncertain horizon,” he added.

“The intricate gears of the automaton, the relentless journey of the gravitram, and the hypnotic swing of the pendulum serve as harbingers, symbols of accelerating change that will inevitably reshape our urban landscapes and our very existence,” shared featured artist Ivan Co. “Through this collection, I invite viewers to stand at the precipice of a new era, where the boundaries between utopia and dystopia dissolve into an uncertain horizon.”

The exhibit’s opening ceremony was attended by distinguished guests, including Elizabeth Sy, President of SM Hotels and Conventions Corporation (SMHCC); Peggy Angeles, Executive Vice President of SMHCC; Rupert Hallam, Conrad Manila General Manager, and featured artist Ivan Co.

All artworks on display at Gallery C are available for acquisition. For inquiries and more information, guests and art collectors may contact (+632) 8833-9999 or email Conrad.Manila.info@conradhotels.com.

About the artist

Ivan Co is an artificer of the unseen. Working from a private atelier in Manila, he channels years of technical mastery into kinetic sculptures that appear to breathe with a life of their own. His practice is defined by a disciplined, almost reclusive dedication to the manual calibration of metal and stone, an exploration of “Ancestral Futurism,” where mechanical form attains a sense of permanence and vitality.

Co was the sole Filipino featured in The Official Platinum Jubilee Edition publication commemorating Queen Elizabeth II’s 70-year reign in 2022. He was also recognized by The Rolls-Royce and Bentley Club of London for a second time as one of the world’s most promising artists, featured in the 2024 commemorative volume Strive for Perfection: Celebrating 20 Years of Goodwood, authored by award-winning writers. Produced by St. James’s House, the publication highlights global leaders in innovation and sustainable luxury shaping the future. Robert Jobson, award-winning author and biographer of the British royal family, writes: “Ivan’s kinetic artworks, informed by his profound understanding of movement and depth, are truly exceptional. These bejeweled works of wonder, crafted from handwrought precious metals and semi-precious stones, move with their own rhythm. With scientific precision, employing pendulums, axles, and intricate balancing points, each piece becomes a mesmerizing sculpture in motion.”

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Presented at Gallery C in collaboration with Art Lounge Manila, the new exhibition explores women’s resilience and beauty through 20 mixed-media works that reflect the strength found in imperfection.

Conrad Manila, in collaboration with the Art Lounge Manila, proudly launches the 40th edition of its celebrated Of Art and Wine series “Creases,” a compelling new exhibition by multidisciplinary artist Meneline Wong, M.D., now on view at Gallery C. Curated by acclaimed art expert Nestor Jardin, the collection features 20 mixed-media works that explore themes of women’s resilience, growth, and the enduring strength shaped from life’s imperfections and experiences.

“Conrad Manila, shaped by Hilton’s culture of empowerment and inclusivity, recognizes the remarkable contributions and impact of every woman across our business and in every sector, including the arts,” said Rupert Hallam, General Manager of Conrad Manila. “Through this latest installation, we invite our guests and patrons to experience a thoughtful tribute to the vulnerabilities and imperfections that ultimately give women their depth, character, and enduring beauty.”

“Creases” features 20 mixed-media paintings, each reflecting the enduring strength and quiet courage of women. Through layered textures and expressive forms, the artworks suggest that the “creases” running through each piece are not flaws, but symbols of the struggles, sacrifices, and silent battles carried with grace.

Meneline Wong shared, “If we focus only on the creases, just as society often fixates on women’s supposed imperfections, we miss the fullness of the story. But when we step back, we see that these very creases give the artwork its character and beauty. In the same way, a woman’s beauty does not lie in perfection, but in the courage to rise through adversity. The creases don’t diminish her, they define her.”

The ribbon-cutting ceremony was graced by esteemed guests, including Peggy Angeles, Executive Vice President of SM Hotels and Conventions Corporation; Susanne Tiausus, Guest of Honor and Managing Director of Art Lounge Manila; Alyssa Valdez, Guest of Honor; Rupert Hallam, Conrad Manila’s General Manager, and featured artist Meneline Wong.

All artworks are available for acquisition. For inquiries and more information, guests and art collectors may contact (+632) 8833-9999 or email Conrad.Manila.info@conradhotels.com.

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The iconic hotel by the bay presents a captivating art exhibition at the Gallery C, featuring artworks that embody good fortune and prosperity.

Conrad Manila opens its 2026 “Of Art and Wine” series at Gallery C with “Spectrum of Abundance,” a solo showcase by Lizanne Uychaco, celebrated as the country’s first and only Feng Shui artist. Curated by esteemed art connoisseur Nestor Jardin, this 24-piece art collection will be open for viewing until March 21, 2026, offering an artistic tribute to the Year of the Horse through themes of success, harmony, and abundance.

“Conrad Manila remains steadfast in its commitment to champion Filipino artistry that resonates with meaning and cultural depth,” said Akshat Sinha, hotel manager of Conrad Manila. “Through this year-opening showcase, we aim to share the promise of prosperity and positive energy that 2026 brings, as reflected in Ms. Uychaco’s exceptional artistry rooted in her Chinese-Filipino heritage.”

“Spectrum of Abundance” presents a series of auspicious works inspired by ancient symbols of luck, strength, harmony, success, wealth, happiness, and abundance—to celebrate and honor the Year of the Horse. Executed in richly textured mixed media, Uychaco’s works reflect her mastery across diverse disciplines—sculpture, pottery, jewelry, calligraphy, and painting. Each piece radiates positive energy, a harmony of culture, heritage, and artistic spirit.

The ribbon-cutting ceremony was graced by distinguished guests, including Elizabeth Sy, President of SM Hotels and Conventions Corporation (SMHCC); Peggy Angeles, Executive Vice President of SMHCC; Rico Hizon, Consultant of SM Investments Corporation and Guest of Honor; Akshat Sinha, Conrad Manila’s Hotel Manager, and Lizanne Uychaco.

All artworks are available for acquisition. For inquiries and more information, guests and art collectors may contact (+632) 8833-9999 or email Conrad.Manila.info@conradhotels.com.

The artist

Lizanne Uychaco is widely recognized as the country’s first and only Feng Shui artist. Her works stand out for their authenticity—rooted in her Chinese-Filipino heritage and brought to life through a masterful use of mixed media. A lifelong practitioner of the arts, Lizanne’s training spans sculpture, pottery, jewelry-making, silvercraft, Chinese painting and calligraphy, watercolor, oils, and acrylics. This breadth of expertise makes her pieces instantly recognizable and richly textured.

Her art is a compelling paradox of antiquity and modernity—a distinctive fusion of East and West. Each piece offers a contemporary interpretation of ancient cultural symbols, beliefs, and energies associated with protection, good fortune, wealth, success, and prosperity.

A recurring motif in her work is the Chinese coin with a square hole—a traditional charm symbolizing heaven (circle) and earth (square), in line with ancient Chinese cosmology. These coins, historically used as currency from the Qin Dynasty (221 BCE) to the end of the Qing Dynasty, embody both cultural heritage and metaphysical significance in her compositions.

Uychaco was first introduced to the public art scene by the Ayala Museum in 1993, through its Discovery Series curated by the late Museum Director Sonia Ner. This debut solo exhibition marked the beginning of a series of successful shows that followed.

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Photos by Joseph Bautista

Namamasko po! That Christmas greeting could be a lighthearted tease from a close friend or relative or a monotonous humdrum from persistent carolers. Christmas is a season of giving and family reunions. It shows devotion to faith, family, and community. It also reflects the country’s rich cultural heritage and strong Catholic traditions. 

Simbang Gabi

This Christian heritage is best depicted in the Simbang Gabi, Noche Buena, and other practices. The Simbang Gabi or Night Mass is a devotional nine-day series of dawn Masses which culminates on Christmas Eve. It is also known as Misa de Aguinaldo or Misa de Gallo which means Mass of the roosters since it is held very early when the roosters crow. This was originally a practical compromise to farmers to attend Mass before they start their day. In modern times, office workers can still go to Mass since most Simbang Gabi start between 4 AM and 5 AM. To accommodate more churchgoers, anticipated Masses have been introduced. The most crowded days are usually the first and last days. Some Filipinos believe if you complete the nine Masses, your petition or wish will be granted.

One of the best places to attend Simbang Gabi is at the Las Piñas Church (St. Joseph Parish) known also as the Bamboo Organ Church. Many people flock to this church to attend Simbang Gabi because of the world-famous Las Piñas Boys’ Choir who perform regularly.

Bibingka, Puto Bumbong, Noche Buena

Misa de Gallo is not complete without bibingka (baked rice cooked in a claypot) or puto bumbong (steamed purple rice cake served with butter, sugar and grated coconut) along with hot chocolate or salabat (ginger tea).

On Christmas Eve, Filipino families celebrate Noche Buena (Good Night) after attending Christmas Eve Mass. It is a festive meal with traditional dishes such as lechon, queso de bola, ham, fruit salad, and castañas (chestnuts).

Central to Philippine Christian celebrations are the parols (lanterns) and the belens (Nativity Scene). Christmas trees are displayed in houses, as well as hotels and malls which compete for the most stunning tree of the season. 

Parol

A parol is an ornamental lantern which were traditionally constructed using bamboo sticks and covered by colored Japanese paper and illuminated by candles, oil lamps and carbide lamps. Most common is the five-pointed star symbolizing the star of Bethlehem.

There are still traditional parol makers in Parañaque and Las Piñas. The best source of traditional handmade lanterns is in Las Piñas which is known as the Parol Capital of Metro Manila. Parol makers can be found in areas like Barangay Elias Aldana.

San Fernando, Pampanga

Traditional parol making is getting uncommon. Modern parols use other materials such as capiz shells, glass, beads, plastic straw, wood, even metal. In San Fernando, Pampanga, lantern making has been taken to a different level. Giant, intricately designed lanterns, some reaching up to 30 feet in diameter, are showcased during the San Fernando Lantern Parade. Neighborhoods compete and lanterns are judged on light sequencing, music synchronization and overall design. The Giant Lantern Festival has been a tradition in San Fernando, making the city as the Christmas Capital of the Philippines. 

Maytinis

South of Manila in Kawit, Cavite is a beloved tradition called Maytinis which is held every Christmas Eve. It dramatizes the journey of Virgin Mary and Joseph as they search for a place to stay. Floats depicting biblical stories showcase scenes from Old to New Testament. Street performances include marching bands and costumed participants. The festival ends with the Christmas Eve Mass. 

The Philippines has one of the longest Christmas celebrations in the world starting with “ber” months up to the first week of January. It is a season for gift giving, specially for children who, upon receiving gifts, would say “Mano po,” a fitting response to show respect and love toward the giver. The holiday season is more than just a time to reconnect with loved ones and cherish family bonds. It is also a time for people of faith to reflect on its spiritual significance.

George Ordoña is a seasoned traveler who has visited 70 out of 82 provinces in the Philippines. He is an accredited DOT tour guide. Aside from the regular tours, he also organizes heritage walking tours and food crawls in Quiapo and Pampanga. As a mountaineer and scuba diver, he is at home doing adventure travel. He can be contacted via 0960-6975930 or email at gpo.islander@gmail.com.

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