Currently on display at The Manila Hotel, Hatch 2026 once again shows how far the Filipino creative’s mind can go when presented with an unusual medium. Using an acrylic egg as their canvas, 12 artists (Raf Page “Raki”, Alber “Kapitan” Tabanao, JP Pining, Krishnamurti Villanueva, Jao Mapa, Tokwa Peñaflorida, Rachel Anne Lacaba, Norman Francis Juban Blanco, Angelo Valmoria Roxas, Dino Blanco, Marko Bello, and Rene “R2” Tolentino) showcase their unique art styles and perspectives.

Every egg in this year’s showcase stands out for its vivid colors and vastly different styles. First to catch your eye are the colorful, cartoonish figures drawn by Raki and Alber. “Raki’s World” has a cool and simple design, evoking mellow vibes with how the character seemingly waves hello to the viewer. Alber’s “Small Fist, Big Spirit” emits an opposite aura, showing a character with a determined face that screams he’s ready to take on whatever the world throws his way. JP and Norman’s works play around with bright colors to form abstract pieces. While JP’s “Path to Reality” offers structured shapes blending in visual harmony, Norman’s “Euphoric Bloom” feels akin to the freeform, hypnotic swirls seen on other planets. Rachel’s “Entangled” feels Lovecraftian, with a Cthulhu-esque figure as its main subject, grasping onto the daily struggles we face. R2, on the other hand, leads us away from these struggles by having us remember what it feels like to be young again in “Lost in a Child’s Dream.” We are reminded of the endless possibilities we may find in the whimsy of childhood dreams. Then, there’s Dino’s “Leadership,” showing a school of koi fish swimming together, forming a bond, and heading in one direction. It reminds us that while we are all unique, it takes a collaborative force to reach our goals.

Bringing us back to earth, the works of Krishnamurti, Jao, Tokwa, Angelo, and Marko have human elements, all with different narratives. Krishnamurti’s “Yakap, Ulan, Araw (Embrace, Rain, Day)” feels tight and intimate, showing a tikbalang in an interlocked embrace with a woman. Meanwhile, Jao’s “Pandisco sa Ilaw” focuses on the elegance seen in Pandanggo sa Ilaw, a Philippine folk dance meant to simulate fireflies. Tokwa’s “Astral Dance” has a celestial element to it, with humanized versions of the sun, moon, and stars dancing around. Angelo’s “Transcendental Scream” literally screams, channeling a mix of euphoria, grief, and anger in one. Finally, Marko’s “A Quiet Shelter” offers a familiar, peaceful sight of a mother cradling her child.