Being raised in the mountains means always seeing the world at an altitude. The expansive becomes intuitive, and the interconnected is reliable. This is examined in John Frank Sabado’s portraits of people who have shaped his sense of communality from childhood. In Leonard Aguinaldo’s works, the figures see themselves as seeing the world change and how they wish to be seen in it.

Lying + Flying is anchored by a group of 1980s-era body prints on large, unstretched canvases, paintings that make the artist’s body both subject and instrument. Villa inked his naked form and pressed it onto fabric: face, hands, limbs, torsos. The gesture is direct, even blunt. A brown body marks space, refusing erasure. Years after his death, Villa still stands in the room.

For her U.S. debut, Carina Santos presents her so-called “pour paintings,” evocative abstract paintings that employ material, gesture and chance to conjure up memories of terrains and skies. Her process begins with mixing color, pouring pigment on a canvas laid flat on the floor, allowing it to sit and lead her to where the painting should go. “It’s not really an accident because it is deliberate," Santos says. “But when the colors interact, it does create something new and surprising. I do lead it, but it ends up where it wants to be.”

Born under the uneasiness of the lockdown years, the comets began as experiments using materials already found in the artist’s home and studio. An avid collector of historical objects, plant specimens, and other curiosities, Halili’s affinity with the natural world mirrors that of an Enlightenment-era gentleman: energized by discovery, guided by experimentation, and driven by the desire to understand the world.