A new gallery, Rift, has opened its doors along EDSA, offering a space for artistic exploration and a powerful reflection of our times. Its inaugural exhibit, “rift / making through the cracks,” isn’t simply a display of art; it’s a visceral response to the fractures within our society and environment.
The exhibit features the work of seven artists – Laura Abejo, Aiess Alonso, Nathalie Dagmang, Carla Gamalinda, Nicolei Buendia Gupit, Solana Lim Perez, and Kestrel Reyes – each grappling with themes of memory, trauma, and ecological crisis. Their pieces aren’t polished statements, but raw expressions born from a sense of urgency.
Rift Gallery intentionally occupies a space often overlooked: the second floor of the historic V.V. Soliven Building, a landmark along the bustling EDSA avenue. It’s a deliberate choice, a quiet rebellion against the city’s relentless forward momentum, inviting viewers to pause and consider what lies beneath the surface.
Carla Gamalinda’s banner, “Open City,” immediately commands attention. Constructed from salvaged fabrics from her family’s history – stitched together on a great-grandmother’s antique sewing machine – it’s a tangible representation of generational connection and the act of rebuilding. The visible stitches themselves tell a story of learning and perseverance.
This act of creation, of mending and remaking, resonates throughout the exhibit. Laura Abejo’s “Safety Breach” utilizes sewn threads to visually separate images, embodying the struggle to reconcile with unspoken truths and establish boundaries in a fractured world.
Abejo describes her technique as a metaphor for “making amends even when there are things unheard and words unsaid.” The deliberate cuts and repairs in her canvas mirror the uncertainty and tension felt in the face of current events, a feeling many can relate to.
Solana Lim Perez’s paintings, “Awakenings” and “A Landscape of Tidings,” function as “memory-hallucinations,” capturing the fluidity of identity during times of upheaval. These collages of watercolor and ink offer a glimpse into the artist’s personal journey through uncertainty.
Curator Carissa Pobre intentionally sought out artists who might be marginalized by the mainstream art world, prioritizing younger voices and those willing to push boundaries. She noticed a natural inclination towards the exhibit’s theme among women artists, highlighting the unique perspectives they brought to the conversation.
The exhibit extends beyond static artwork. Aiess Alonso’s short film, “Habitat,” powerfully depicts the struggles of fishermen in the wake of Typhoon Yolanda, a stark reminder of the ongoing climate crisis. Her work is projected alongside Nicolei Buendia Gupit’s video installation, which amplifies the voices of communities concerned about water sanitation.
Gupit’s work explores the intersection of climate change and global capitalism, focusing on the experiences of coastal, migrant, and diasporic communities. Scattered across the floor are sculptures of water jugs covered in newsprint referencing climate issues, a poignant visual statement.
Nathalie Dagmang’s paper collages, inspired by her research on soil, and Kestrel Reyes’ paintings, informed by her background in chemical engineering, offer further unique interpretations of the “rift” concept. Each artist brings a distinct lens to the central theme.
Even the gallery’s physical space reflects its ethos. Eschewing the traditional “white cube” aesthetic, Rift embraces a brutalist, industrial feel. The location itself is a deliberate statement, positioned as a counterpoint to the surrounding symbols of power and consumerism.
Rift Gallery isn’t simply presenting art; it’s fostering a culture of artistic exploration and cultural education. The space will host film screenings, workshops, bazaars, book launches, and live music performances, becoming a hub for creative exchange.
The gallery’s manifesto, displayed on its walls, defines “to rift” as “to break away…so as to make space for experimentation,” and “to break free from the prestige-driven onus of the mainstream.” It’s a bold declaration of intent, a commitment to challenging the status quo.
“We’re ending 2025 in a really strange time where the rift is literally what we’re in,” Pobre reflects, “and we don’t know how or we’re thinking of ways to create while we’re in this.” The exhibit “rift / making through the cracks” is on view until February 1st, offering a space for contemplation and connection in a world defined by division.
