November 3, 2015: Eureka!

UNC’s Process Series Presents
New works by UNC MFA in Art alumni
Curated by Jina Valentine + the Curatorial Practices Class

November 12-December 12
John and June Allcott Gallery
With opening reception and artist talkback Thursday, November 12
Reception 5:30-8pm; talkback at 6pm

Artists included in this exhibition : Emily Beck, Kyle Bravo, James Cicatko, Isabel Cuenca, Travis Donovan, Jessica Dupuis, Ali Halperin, Minjin Kang, Mijoo Kim, Cat Manolis, Lydia McCarthy, Jessye McDowell, Katy Mixon, Chris Musina, Jason Osborne, Eric Pickersgill, Lauren Salazar, MJ Sharp, Damian Stamer, Stacy Spencer Stonestreet, William Thomas, Antoine Williams, Gesche Würfel

Chapel Hill, NC—Eureka: the moment of inspiration, innovation, peripety, shift. In the graduate art studio, this moment unites exhilaration and fear. The Aha! moment may come from experiments with new materials, techniques, or narratives, or from reimagining and reassessing what, why, and how things are made. Letting go of the familiar is frightening—but when we do it, we make space for reinvention and flux. Eureka! will exhibit works by two dozen of UNC’s MFA in Art alumni, showcasing their graduate school turning points alongside their current work.

August 8, 2015: My first collaboration with one Matt Manalo

Title: Bahay
Location: Dallas, TX
Opening reception with Matt Manalo
“BAHAY” encompasses the nature of Matt and Isabel’s own subjectivity, relationship with nature, religious practice, and ethnicity. Their influences stem from Philippine folklore, to colonialism, and current cultural practices in both the micro, intimate, interior environment of the home; and its position within external environment of the community though a worldwide lens."

May 8, 2015: Satis House at Lawndale

My first solo exhibition happened at Lawndale Art Center in Houston, TX.

Satis House
“When the house and clocks stopped all together.”  Satis House is a paradigm of stagnation. It is architecture that suffers and decrepit as time migrates forward. It becomes the artifact of loss – of structures weathered down to its bare bones. Satis House explores decay as an aftermath of loss. Cuenca alters and combines cyanotype print illustrations and photographic sources to create formal collages, paper constructs and painting assemblages in the lens of a geometric abstract painter. The manipulation process of collaging and folding allows shapes and symbols to lose their real-world connotations and opens the possibility of existing in the realm of fiction. The use of paper is both weighted and light. It can hold its shape, at the same time bend to the force of the creator. It complicates the ideas of the identity the forms take on and their existence in both two-dimensional and three-dimensional space.

November 13 - 16, 2014 - My First Biennale

Just out of graduate school and my first gig was The Visayas Islands Visual Arts Exhibition & Conference (VIVA ExCon) 13th biennale, Bacolod City, Philippines. This was special and one that I will never forget. I didn't think this would have happened so early in my career. I hope I did you proud!
Location: Gallery Orange, Bacolod City, PH
Curated by: Dr. Patrick Flores

March 3-7, 2014: Where Lost Boys Gather

At the end of the road. I am getting ready to install my thesis show at the John and June Allcott Gallery inside the art building at the University of North Carolina - Chapel Hill.

The show is called Where Lost Boys Gather and every artist that goes has a Q&A with the: Daily Tarheel the school's paper. Here's a preview and the reason why I chose the title:

DTH: Why is it entitled “Where Lost Boys Gather”?

IC: It was something that I wrote for this gallery talk before I got into the Allcott Gallery. I was really questioning: What was this space that I was depicting? What is it to me? When I look at spaces, I think of a narrative that goes with it. What becomes of the space when you put your work in it? It becomes this other dimension. You cross that glass wall and it’s quiet compared to the busy hallways when classes end and people are in and out constantly. So, the entrance to the gallery becomes a space of its own; it becomes a different dimension.

I was thinking about what narrative gave me that separation between the real world and something fictional. I thought of Peter Pan because the work is very celestial — there’s blue and there are lines that sort of reference constellations where lines meet and the paper frazzles. It becomes constellations like the ones that are in written format or drawn format. The idea of the star becoming this transportation device is of the lost world where Peter Pan takes Wendy. And so, that is where I’m leading this alternative space – to this other dimension that you can create within the gallery space and within your work.

Credit to Daily Tar Heel