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The Noises That Kill
Cabien Nelson
Traditional pencil, pen, and marker, 9 x 12 in., 2 pieces
Inspired by the intricate compositions of Albrecht Dürer and the environmental conflicts in Hokusai’s woodblocks, this dual-panel graphic work explores “noise pollution” as a modern threat. One panel features a chaotic collage of man-made sound—cars, speakers, and explosions—rendered in bold colors.
The adjacent panel depicts the aftermath: a desaturated “Mother Nature” where animals and human ears bleed, symbolizing the draining of life from sensory overload. By inverting text and mirroring elements across both sheets, I create a perspective-shifting narrative that highlights the destructive impact of industrial sound on the natural world.
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Memento Mori Interpreted
Cabien Nelson
Traditional pencil, pen, and marker, 9 x 12 in., 2 pieces
Exploring the intersection of music and visual identity, this “interpretive self-portrait” reimagines Buck-Tick’s Memento Mori album cover through a Visual Kei lens. By blending the original skull imagery with the structured storytelling of Inio Asano’s manga panels, I illustrate how my mind deconstructs and recreates art.
The piece features a skeletal figure engulfed in vibrant, complementary red and green fire and flora, symbolizing the “explosion of sound” within the album. This transition from the original icon to a fully realized character captures my creative process, turning a musical influence into a personal narrative of gothic, punk-inspired transformation.
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The Hero Within
Cabien Nelson
Traditional pencil, pen, and marker, 9 x 12 in.
In this surrealist self-portrait, I cast myself as my own hero, sustained by the restorative power of music. Inspired by Salvador Dalí’s surrealism and Jack Kirby’s bold comic storytelling, the piece depicts me in a state of focused calm. Vibrant, multi-colored headphone cords act as conduits for my internal world: a brain for cognition, hearts for emotional highs and lows, and thought bubbles for pure imagination.
Set against a pillow to ground the piece in my personal reality, the work uses a “rainbow splash” to symbolize the world of sound consuming me. By leaving my face uncolored, I shift the focus toward the surrounding mental landscape, illustrating that while I am my own hero, music is the force that truly saved me.
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Who am I without what makes me, me
Gianna Villavicencio
Oil on canvas, 16 x 20 in.
In my self-portrait Who am I without what makes me, me, I combined my entire collection into a single painting. I represent my life as an artist, framed by the Philippine sun, sampaguitas, and tribal patterns. This piece unifies my portfolio, blending Art Nouveau influences and a warm-to-cool color palette that signify the passage of time—from the “sunrise” of my first work to this “sunset” conclusion. By integrating elements from previous projects, the painting serves as a reflection on my heritage, hobby, and identity.
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Pagpupo og Pruta
Gianna Villavicencio
Oil on canvas, 18 x 24 in.
In Pagpupo og Prutas (To Pick Fruits), I explore my Filipino-American identity through a portrait of my grandmother in her youth. Set against a backdrop of native Visayan flora—crepe jasmine and peace lilies—she holds a basket of mangoes, symbolizing her provincial childhood and the labor required to emigrate. Using a saturated oil palette inspired by Fernando Amorsolo and Maia Cruz Palileo, I painted with warm yellows and oranges to capture the intense Philippine sun. This piece serves as a visual narrative of heritage and a look into my roots.