Endaya describes this work as a kind of self-portrait, even if none of the figures resemble her. She has perhaps always seen herself in each of these women, which speaks to the empathy that radiates in her work. In Kahapon Muli Bukas, she asks us to do the same: every worn object, unsettling gaze, and victorious posture moves us to close the distance between ourselves and the neglected Filipino women of yesterday, today, and tomorrow.

Lim’s practice lives within the tension between opposing forces and elements: additive versus subtractive, positive versus negative, embedding versus extracting, painting versus sculpture, near versus far, body over landscape. With each new body of work, she labors to complicate and further nurture this tension, without favoring one side over the other. What emerges is a kind of hybrid, self-reflexive approach, anchored in process.