For Raul Francisco, owner of Provenance Gallery, bringing modern Filipino art to the international stage is a nation-building effort. “The challenge is that Philippine art has long been stereotyped when, in fact, it’s a cross-section of different visual languages,” he said.

He turned to Enduring Decay, a painting by Arturo Sanchez Jr. It shows a figure that can only be the remains of a person, seated on a wooden chair, in a state of decomposition. A closer look shows fine details of what’s truly going on with the subject. Touted as a museum piece, it’s one of the artworks that won’t really jump out of you from the catalogue but once seen in its scale and all its fine details, you understand why it was one of the pieces that got snapped up quickly.

Lotsu Manes’ West PH Xi also hung on the opposite wall, depicting the plight of Filipino fishermen, caught between China’s expansive claims and the need to survive. “The artist works with termites,” Francisco explained. Manes would bury wood he intended to use as canvas and allow termites to eat through them, adding certain textures and unique patterns. Andres Barrioquintos’ Paradise Limbo and Ego Death were also present, hanging side by side, to showcase the artist’s versatility in his choice of subjects, use of color, and evoking a mood.

“Finopinas: The Finest of Philippine Art and Design,” held at the International Design Liaison Center in Tokyo Midtown Design Hub, ran in early September. It offered a glimpse into the multifaceted world of Philippine art, fashion, and design and a unique opportunity to experience the depth and richness of the Philippines’ creative industries spanning artworks, fashion, and even furniture. “We wanted to show a different side of Philippine aesthetics,” said creative director Alodia Cecilia who worked with Genshi Shigekawa of Manila Fashion Festival (MFF) in curating the exhibition. “Truly Filipino pieces that also appeal to the Japanese aesthetic. We’re usually known for vibrant and festive colors and while there’s nothing wrong with that, we wanted to showcase the diversity in talent and craftsmanship the Philippines has to offer.”

Renowned furniture designer Vito Selma, a crowd favorite at international design shows, also brought some of his latest pieces. His pebble table receives a unique treatment with the use of rattan and Japanese weaving techniques. He’s joined by other talented furniture exhibitors Aerostone, Jed Yabut, Jireh Forge, and Obra Cebuana.

Opening night drew a distinguished crowd, including diplomats, business leaders, and cultural figures. The evening’s highlight was the PH MODE x TYO Fashion Show, which featured Filipino and Japanese designers. The garments on display celebrated both countries’ shared love for craftsmanship while also spotlighting indigenous Filipino textiles, a true marriage of innovation and heritage.

Also on display were products from Filipino artisans, who were to join the Tokyo International Gift Show happening in the same week, from jewelry by Mjorian, Calli’s wooden bags, and sustainable accessories made from plants by Agsam Fashion Fern Accessories to colorful clutches by Beatriz, Biñan porcelain from Fine Bone PH, sneakers made from pineapple fiber by Lakat Sustainables, and the community-building fashion enterprise Crystal Seas, to name a few.

The event is part of a broader effort to strengthen the country’s brand on the international stage, a mission fueled by a commitment to showcasing the vast potential of the Philippines’ indigenous materials, designs, and artistry. With global markets continuously evolving, such exhibitions are evolving from merely aesthetic experiences into a testament to the Philippines’ ingenuity and ability to meld tradition with modernity.

For Provenance Art Gallery curator Stephanie Frondoso, it’s an honor to showcase Filipino art abroad, especially the works of the more established painters in the gallery’s roster. “I feel like Philippine art is really powerful, and Filipinos are among the most talented artists in the world. They’re prolific because Filipino artists respond to a lot of societal issues, so the artist really resonates. They’re not shallow.”

French-Filipino artist Solenn Heussaff was also in Tokyo for the show, with one of her paintings on display. “We’re a mix of so many cultures that it’s kind of hard to identify, sometimes, ourselves among others,” she said about her painting called Ambivalence. “I used a lot of bright colors to showcase the resilience of the Filipino people, that we always have a fighting spirit, always very lively people, always smiling no matter what happens. At the same time, it’s really just us always sticking to our roots as Filipinos as well, no matter where we are in the world.”

Philippine Ambassador to Japan Mylene Garcia-Albano set the tone for the night in her opening remarks, saying, “At the heart of this exhibit is a celebration of the convergence of design, innovation, and sustainability.” Her words rang true, as everything on display echoed the country’s rich cultural past and reflected a forward-thinking approach to creative industries. The ambassador’s emphasis on sustainability was also a timely reminder that art and design could—and should—play a role in addressing today’s global challenges. Finopinas, supported by the Philippines Embassy in Japan, was organized by the Philippine Department of Trade and Industry in Tokyo, headed by commercial counselor Dita Angara-Mathay.