In her latest exhibit, “Through Veiled Eyes,” visual artist Iris Babao-Uy invites viewers into a world where reality is softened by the passage of time. Currently showing at Galerie Anna in Festival Mall, the collection marks a significant stylistic departure of the artist, moving from descriptive realism toward a luminous, impressionist exploration of emotional landscapes.

Building on themes from her previous show, “When Memory Wore Flowers,” Iris uses floral subjects as a gateway to her “emotional terrains.” For the artist, the “veil” is not merely a title but a physical and conceptual framework.

“The ‘veil’ represents the filter of time, memory, and subjective experience, tuning traditional floral painting into impressionist landscapes and scenes,” Iris explains.

This concept is manifested through a meticulous mixed-media process. She begins with granulating fluid acrylics and inks, adding a texture before final layers of oil paint. This technique allows the spontaneous movement of the background inks to peek through the luminous oil passages, mimicking the way memories surface in the mind.

One of the exhibit’s most compelling features is its departure from conventional formats. Over several months of development, the collection evolved from the initial sketches of porcelain dolls to complex, geometric-shaped canvases and triptychs.

These irregular forms, such as those found in the lead piece “Veil of Spring (Triptych),” presented unique technical hurdles.

“Integrating the fluid forms within the non-standard geometric structure of the canvas required meticulous planning,” she notes. “I overcame these challenges by stepping back, trusting my instincts, and allowing the layers to build the topography of the piece organically rather than forcing a rigid outcome.”

The final presentation, featuring these complex shapes in champagne gold floating box frames against stark white walls, emphasizes the modern, atmospheric feel of the work.

For Iris, this collection represents a milestone in her growth, following appearances at major fairs like Manila Art Fair 2025. She describes a deliberate “stylistic shift” where she intentionally erases brushstrokes that become too detailed.

“This is where I intentionally paint the ‘memory’ rather than the detail, the feelings rather than the factual information of what is seen,” says the artist.

If there is one work that best captures this “soul,” Iris points to “Topography of Spring.” It serves as the anchor of the show, illustrating what it means to hold the vibrancy of a floral arrangement while diffusing it into an expansive, abstract experience.

While “Through the Veiled Eyes” focuses on impressionist florals, Iris is already prepared for her celebrated Filipiniana Porcelain Doll series. Her next major project will be a two-man show at ArtistSpace, Ayala Museum, titled “Sa Lilim ng Pamana.” This upcoming series will continue her exploration of Filipino heritage and culture through symbolic still-life setups.

Ultimately, Iris hopes that visitors to her exhibit will leave with more than just a visual memory.

“I hope viewers leave with a sense of introspective tranquility. I want them to feel as though they have walked through a familiar memory that has been softened and transformed by time.”