Art transcends boundaries, expressing deep emotions and bridging connections between people and places. For Ayen Quias, a Filipino artist known for her intricate wood collages, art became a sanctuary during a time of isolation. As the founder of CAMP, or Contemporary Art Movement of the Philippines, she is now bringing Filipino creativity to Europe, showcasing the vibrant artistry that emerges from the Philippines.
Ayen Quias, whose real name is Mayette Gabatin Quias, is set to participate in multiple exhibitions in Europe this October, along with a group of 18 talented Filipino artists. The tour will feature stops in Milan, The Hague, and Paris, where the group will present their works to international audiences. “Preparing for the first CAMP ARTeX is not an easy task,” Ayen explains. “Everything is new, and it is hard to handle a group to bring abroad, especially managing logistics for artworks and accommodations for artists.”
For Ayen, her journey as an artist began in 2012 when she made the transition to becoming a full-time artist. During this time, she quickly realized how difficult it was for emerging artists to find gallery spaces to exhibit their work. This challenge, combined with her desire to showcase the world-class talent of Filipino artists on the global stage, led to the founding of CAMP. “Being in a group is the first and best step. I wanted the world to know that Filipino talents are world-class,” she shares. Beyond this, CAMP also aims to inspire indigenous peoples (IPs) and students, giving them platforms to exhibit their works alongside more established artists.
Ayen’s artistic style is unique. She creates what she calls “wood collages,” a process that involves using scraps of chip wood, glued and assembled either in layers or rows. These wooden pieces come together to form her signature “Ayen’s Little Town,” a recurring motif in her work. The pandemic significantly influenced the themes she explores in her art. “My work is about connections,” Ayen explains. “I intentionally put the little houses as close together as possible because during the time of the pandemic, when we were confined in our homes, we longed for connection. I longed for my loved ones and was so afraid of uncertainty. My art became my sanctuary, my world, my little town.”
This deeply personal expression of connection resonates with many, especially in a time when the world collectively experienced isolation. Ayen hopes to bring this message of interconnectedness to European audiences. “My works are known here in the Philippines because they radiate happiness,” she says. “I hope to share the same vibes with my European audience—that we, regardless of race and colors, are interconnected. We live in a human habitation that we call a home.”
Ayen’s first invitation to exhibit in Europe came in 2023 when she was asked by the Philippine Consulate in Milan to be part of a two-person show with fellow artist Noel Nicolas. She was also a delegate at the prestigious Florence Biennale. “I never expected to be considered for such a big opportunity, but nevertheless, I showed my best works,” she recalls. Now, as she prepares for a second round of European exhibitions, she is bringing the CAMP group with her. “I want them to follow the same path that I have paved,” she says, emphasizing her desire to uplift fellow Filipino artists.
The upcoming CAMP ARTeX tour will feature three major stops. The first exhibition will be held at the Philippine Consulate in Milan from October 4 to 10, followed by the Philippine Embassy at The Hague from October 14 to 17. The final leg of the tour will be at the iconic Carrousel du Louvre in Paris from October 18 to 20, a venue famous for housing the Mona Lisa. Ayen acknowledges the challenges involved in preparing for these exhibitions but remains focused on the group’s shared goal: to present their best works to the world.
To aspiring Filipino artists, Ayen offers encouraging advice: “Never give up. Don’t be afraid to experiment, but always try to find your identity in the process. And always stay humble and authentic.”