The thesis is about the story of the artist migrating from the Philippines to Toronto,
Canada. The artwork is about adjusting and adapting to blend into the new culture of
migrating to Canada. His story is about the migration of his family showing the complexity
of what he has experienced to immerse in a new culture of the people, Canadian society and a
different land. He aims to shed light on the complex dynamics of migration and its broader
implications for him as an individual. An exploration about the narrative of questioning his
own cultural identity, new territories, and personal effort that a person has to go through
when moving to a new country and how it’s shaped and made impact to the life of the artist.
The work is crafted into a painting on canvas. The subject will portray people,
structures, buildings, and places that has cultural relevance to him and the greater audience. It
will portray the indicative means of trying to blend in with the new people he is surrounded
with and the ideals and hardships of making a living and the deep origins associated with his
background and identity. An exploration of the diverse physical characteristics and features
of the land. The work will encompass the contemporary art living in today’s time. It will
feature a painting rendition of scenes in life and layering techniques to show the deep texture
of the painting wall-bound. This thesis delves into his story as a Filipino-Chinese-Canadian
immigrant who left his homeland for a brighter future in Canada. Their journey aspiring for
new experiences driven for economic prosperity and seek for a better life

This thesis is a series of portrait paintings visualizing transgender identity in the in-between state of transition using liminal spaces as a visual metaphor for the liberating, yet unsettling journey of becoming. The transgender figure is based on a photographed model, digitally manipulated, and painted in acrylic and oil on canvas. In this body of work, I reflect on my experience and subjectivity as a trans non-binary and translate it into a shared narrative, initiating dialogue on trans and non-binary identities navigating the in-between state of transition. The use of vivid, exaggerated color and style depicts gender identity as fluid and complex, challenging traditional binary gender norms, while displacements of objects and juxtaposition of spaces highlight the tension between the inner self and external social structures. Moving from photography to digital collage/manipulation and painting, it becomes a prolonged form of transition that reflects the state of becoming. The paintings, resembling infrared/thermographic imaging often seen in surveillance, invite viewers to engage as spectators, encouraging reflection and empathy on understanding transgender identity within this liminal space, serving as a reminder that everyone is interconnected within the larger canvas of human experience.

Ang tesis na ito ay tumatalakay sa close-up fragments ng decay ng espasyo na
nagmumula sa persepsyon, emosyon, alaala, at personal na karanasan sa biyahe,
bilang may kakayahang magbitbit ng naratibo ng pagtitiis o endurance sa
transportasyon sa magulong lungsod. Mula sa aking sariling karanasan bilang
komyuter, nakikita ko ang mga sirang bahagi ng espasyo sa biyahe, gaya ng upuan
at ceiling ng dyip, waiting shed, butas na sidewalk, bitak sa kalsada, at mga
dinadaanan at sinasakyan bilang mga bakas ng aktibidad at karanasan ng tao. Ang
mga ito ay repleksyon ng endurance, mga sirang bahagi na patuloy na ginagamit sa
kabila ng hindi pag-ayos sa mga ito. Ginamit ko ang pagpipinta bilang isang act of
noticing o isang paraan ng pagpansin, kung saan ang sariling persepsyon, emosyon,
alaala, at koneksyon ay nahuhubog sa gitna ng pagod at pagtitiis sa biyahe. Sa
pamamagitan ng patong-patong at pinagsama-samang close-up fragments ng
pagkasira sa espasyo sa biyahe, binuo ko ang komposisyon bilang salamin ng
emosyon at alaala ko sa espasyo ng pira-piraso at magulong kalunsuran. Ang serye
ng painting na ito ay hindi lamang nagpapakita ng pisikal na pagkasira. Ang bawat
pahid sa painting ay repleksyon sa emosyonal na pagtitiis at kung paano ang
ugnayan ng katawan, espasyo, at karanasan ay bumubuo ng personal na pag-unawa
sa araw-araw na pagtitiis sa biyahe.

This thesis examines the relationship of urban spaces and human routines as informed by the proponent’s experiences and serves as a profound canvas for exploring shared societal, cultural, and personal experiences. It also draws upon theories and concepts that are pivotal in understanding the nuances and complexities of human existence within urban environments. Through a multi-media approach in painting and animation, this thesis not only depicts specific urban landscapes familiar to the proponent but also evokes the emotional and cultural narratives that exist within each setting. It also seeks to contribute to contemporary discourse on urbanization, identity, and the evolving integration of traditional and digital artistic practices. The visual exploration reflects the complexity of urban life, offering a personal commentary on societal patterns while documenting the rich cultural heritage of urban spaces for future contemplation.

Ang watercolor ay isang midyum sa pagpipinta na kalimitang ginagamit
bilang pangkulay sa mga surfaces tulad ng tela at papel na may natatanging
katangian na sumipsip ng tubig. Sa pamamagitan nito, nagiging posible ang iba’t
ibang teknik tulad ng paghahalo, pagpapatong ng kulay, at pagdadagdag ng
tekstura na nagreresulta sa iba’t ibang anyo at epekto. Layon ng tesis na ito na
maksimahin ang potensyal ng watercolor sa mga hindi pangkaraniwang paraan,
partikular sa paglalapat nito sa semento na may sukat ng isang miyural. Sa
proseso ng paglikha, gumamit ako ng watercolor ground upang pakapitin ang
kulay sa semento, at fixative upang tiyakin na hindi ito agarang mabubura o
kukupas. Kakabit ng materyal na paggalugad na ito ang pagtalakay sa tema ng
migrasyon na nagbibigay naratibo sa pamumuhay at paglipat ng tao mula sa isang
espasyo patungo sa panibagong espasyo. Partikular na inilarawan ang
pagkakaiba, pagkakapareho, at pagtutugma ng kalagayan ng lupa at mamamayan
sa kalunsuran at kanayunan. Lumabas sa pag-aaral na mayroong kakaibang
reaksyon ang watercolor sa semento. Mabilis na sinipsip ng semento ang
watercolor sa kabila ng makinis na tekstura nito. Dahil dito, naging posible ang
paggamit ng teknik na wet-on-dry at dry-on-dry sa pagpapahid at paghahalo ng
mga kulay nang hindi nawawala ang ninanais na tingkad. Mula dito, napatunayan
ang potensyal sa paggamit ng watercolor sa kakaibang surface bilang makabago

at kakaibang paraan ng pagpipinta na kahalintulad kung paano umaangkop ang
mga tao sa konteksto ng migrasyon.