In mirrors, merging, Catalina Africa presents five devotional paintings that mark a profound transition, shifting away from symbolic control toward direct surrender to the unknown. Across canvases populated by elemental topographies, floating altars, and aerating flowforms, her process unfolds as a slow ritual of holding inner and outer terrains in stillness. In this studio interview, Africa discusses how painting serves as a steady tether between a past self and a future yet to arrive while everything else rearranges.

The Berkeley Art Museum and Pacific Film Archive (BAMPFA) will host MATRIX 290 / Keka Enriquez, marking the San Francisco-based artist’s first solo museum exhibition in the United States. On view from December 9, 2026, through April 25, 2027, the exhibition features eight new large-scale, expressionistic paintings created during her residency at the Headlands Center for the Arts, signaling her return to painting following a two-decade hiatus.

The Coconut Tree Methodology is both reflection and proposition: to sense the world and grasp the changes that are shaping it right now. For Martha Atienza, that world is anchored to the Bantayan Islands in Cebu, where the Dutch-Filipino artist was in part raised, bearing witness to coastlines being transformed by rising sea levels: a fact that Atienza has diligently documented as a central facet of her award-winning transdisciplinary practice. This exhibition comes on the heels of her recent recognition at Art Basel in Switzerland, where her Bantayan-based, artist-led platform, GOODLand, was awarded the inaugural 2026 VISIBLE Situated Fellowship, supported by ZEGNA.