It is one thing to see and admire a work of art, but seeing it with movement is another. The experience is somewhat extraordinary, magical even, as if seeing the masterpiece come to life as it shines, makes a sound, and lures viewers in to look closer. That’s exactly what Filipino artist Ivan Co’s works are all about. Through his mastery of metallurgy and jewelry-making, he was able to bend metal and use semi-precious stones to create his kinetic sculptures.

His works are one of a kind. He has been featured in “The Official Platinum Jubilee Edition” publication commemorating Queen Elizabeth II’s 70-year reign in 2022 and was also recognized by The Rolls-Royce and Bentley Club of London for a second time as one of the world’s most promising artists.

This time, Filipinos can experience his artworks more intimately and for a longer time through the 41st installment of Conrad Manila’s “Of Art and Wine” series. On display now at Gallery C of the hotel is his latest exhibition, dubbed “Harbinger Metropolis.”

It showcases 10 meticulously crafted automaton, gravitram, and pendulum sculptures, each a powerful meditation on the accelerating pace of progress and the choices humanity faces on the threshold of an unpredictable future.

After the exhibition’s unveiling last May 26, Manila Bulletin Lifestyle got a chance to chat with Ivan, as he went into detail about his collaboration with Conrad Manila and the story behind “Harbinger Metropolis.”

It started back in 2023 when I presented a new concept to Harley Sy (of SM Investments). He is an absolute intellectual when it comes to mechanisms and pendulum weight distributions. That shared passion naturally led to a meeting with Elizabeth Sy (president of SM Hotels and Conventions Corporation) and curator Nestor Jardin. As we shared wine and a mutual love for art over at C Lounge, the idea to collaborate on a full exhibition for Gallery C was born.

I chose the title “Harbinger Metropolis” because I wanted to ask a question that I think a lot of us are asking right now: Where are we going? Is the feeling that things are fracturing an early warning sign of a dark age, or is it the chaotic friction that happens right before a new golden age?

Take the centerpiece, “Arcus Praenuntius.” On the surface, I wanted it to be incredibly beautiful and aesthetically pleasing. But if you watch the mechanism closely, it represents an unending cycle of labor—what I call the “pila-life.” We queue up for the daily commute, we queue up to get our IDs from government agencies, and when we travel abroad, we queue up at the airport, at Disneyland, at museums, and at restaurants. The cycle never ends. It looks magnificent from the outside, but is that endless loop a sign of progress or a beautiful trap? “Harbinger Metropolis” isn’t offering an answer; it’s posing the question.

They’re not all brand new. Some have recently come home from exhibitions in London. The pieces on display were specifically curated because of how they tie into the core “Harbinger Metropolis” concept.

If I had to pick a favorite, it would be my most whimsical piece, “Now or Never.” It takes the form of a spiral staircase rising like a tower. Anyone willing to climb the steps gets to pose a question to the oracle, place a quartz sphere at the top, and watch it roll down the tracks. The piece answers through a 50/50 binary mechanism: “now” or “never.” It is truly the ultimate conversation piece.

That conversation is something I will always value deeply. While we were observing the “Arcus Praenuntius,” Hans Sy (of SM Investments) shared some profound advice on my artistic trajectory, challenging me to think about long-term legacy in the same vein as masters like Ronald Ventura and Juvenal Sansó. He spoke about how true art isn't just meant to be viewed from a distance—it is meant to be lived with, experienced physically, and ultimately woven into the cultural evolution of our nation. To have someone who has championed the country's cultural landscape for so long offer that kind of perspective was an immense honor.

Above all else, my work is about cultivating deep focus. I firmly believe that the future isn’t digital—it’s analog. Building these pieces entirely by hand, molding and soldering every component without the aid of computers, is an incredibly intensive personal journey for me. If a visitor can stand in front of these artworks and experience just 10 minutes of pure focus, quiet self-reflection, and a glimpse of their own life’s journey, then the exhibition has done its job. That would be my deepest honor.

Curated by Nestor Jardin, “Harbinger Metropolis” runs until July 25 at Gallery C in Conrad Manila, Pasay City. See Ivan’s kinetic sculptures in motion below: