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      <image:caption>32.5” x 26” oil on canvas, mixed media 2022</image:caption>
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      <image:caption>47” x 14” x 14” oil on canvas, mixed media 2023</image:caption>
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      <image:title>Gallery - Don't Use the Word 'Girlfriend'</image:title>
      <image:caption>figurative study, based off the film Love and Other Drugs</image:caption>
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      <image:caption>study based off a photograph by Fernando Cortes</image:caption>
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      <image:title>Gallery - Gilingan at Pansalok ng Bigas (study)</image:title>
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      <image:title>Portfolio - Reverb</image:title>
      <image:caption>11" x 11" x 14" mixed media sculpture 2017 as part of the group show Dance, at Secret Fresh gallery SOLD</image:caption>
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      <image:title>Portfolio - Overspill</image:title>
      <image:caption>30” x 20” oil on canvas 2017 as part of the two-man show, 22, with Daniel Evangelista at The METRO Gallery SOLD</image:caption>
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      <image:title>Portfolio - Elsewhere</image:title>
      <image:caption>7' x 3' oil on canvas 2017 as part of the group show Waking In Between, at The METRO Gallery SOLD</image:caption>
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      <image:title>Portfolio - Hari Ng Kalsada</image:title>
      <image:caption>(King of the Road) 6’ x 4’ oil on canvas 2018 as part of the two-man show, Echoes, with Daniel Evangelista at The METRO Gallery SOLD</image:caption>
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      <image:title>Portfolio - Child's Pl@y</image:title>
      <image:caption>3’ x 3’ oil on canvas 2019 as part of the group show, Gateways, at the METRO Gallery. SOLD Artist’s note: The piece, Child’s Pl@y is a nod to personal childhood toys I grew up with, a reminder that playtime for a child is a gateway into new worlds, much like Disney’s Toy Story depicts imagination. The concept for this piece takes inspiration from the minimalist style of iPhone advertisements and promotional material, sort of to hint at the digital era today’s children are growing up in, subtly highlighting the difference between two decades and how much the idea of playtime has changed in such a short amount of time.</image:caption>
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      <image:title>Portfolio - Paraffin</image:title>
      <image:caption>6’x4’ oil on canvas 2021</image:caption>
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      <image:caption>there’s no shade in the shadows we hide interrogates the limits of our physical body, pushing us into the liminal realm of the Uncanny. It is centered on dislocation, disrupting our perception of space and optical coherence – educing a facsimile of what is missing, what lies in between, and what is left to fill. This is a nexus explored to a deep extent by Sigmund Freud whose Uncanny theory explores ego disturbance – doubling, dividing, interchanging – leaving our original selves as broken echoes. This idea of brokenness intertwined with unease is what Crystal Tranquilino confronts in this series of works. What could be more familiar than witnessing our own distortion, our bodies as vessels of memory, hiding in the shadows of what we ought to be?</image:caption>
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      <image:title>Portfolio - After Eden</image:title>
      <image:caption>After Eden: A Two-Artist Exhibition featuring Crystal Tranquilino and Naomi Mendoza</image:caption>
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      <image:caption>Sleep to Dream is an act of defiance; it juxtaposes the tension between confinement and possibility, subjugation and empowerment, and the reinvention and pursuit of female autonomy. Through an amalgam of archival source and contemporary elements, Tranquilino pays homage to Juan Luna’s Las Damas Romanas and Félix Resurrección Hidalgo’s La Barca de Aqueronte through a historic lens – reflecting on the complex relationship of our history, indigenous traditions, and the women’s role in this intersection of colonial order. It imagines a new mode of affirming their legacies, positioning them as allegorical figures of beauty and piety, and of national resistance and social change. There is a contrasting depiction of women in Luna and Hidalgo’s works; whereas Luna’s work highlighted the idealized and revered aspects of the female, Hidalgo’s depiction embodied their tragic fate within the context of myth and society. Tranquilino reflects on this nexus in her works De Carne y Piedra (Of Flesh and Stone) and Piedad(Piety) where she elevates women and the emblems of their femininity from passive subjects to active figures in both history and mythology, constructing an afterimage of their dynamic expression of dissent against forces beyond their control. The artist also constructed Los Siete Pecados Capitales (The Seven Capital Sins) where she attempts to reverse the cultural and religious presupposition that indicts women accountable for sin while excusing men. In a world where women are constantly subjected to unjust suffering and systemic oppression, Tranquilino offers a more nuanced portrayal of their experience that endures and resists. The decision to portray her subject with their eyes shut quietly echoes an active salvation of dignity amidst adversity. It encourages a more inclusive interpretation of their roles both in our history and at present.  Tranquilino’s evocative use of her signature cascading drips, intentional material manipulation, and modeling of her subjective elements underline this complex intersection of heritage and fluidity of female identity. These works are an act of rebellion and self-liberation—that women can take just as much space and are taking space—in the broader cultural and political narrative of our time. exhibition notes by Chan Alvarez</image:caption>
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      <image:caption>Sentimental Veneers (Crystal Tranquilino) as part of the group exhibition Puedes Sentir lo que veo at Kate Contemporary Madrid. Feelings seep into the ordinary. In Sentimental Veneers, Crystal Tranquilino examines loss not as a catastrophe but as a procedure. Each object carries the imprint of a former presence in which its emotional meaning becomes increasingly pronounced as its physical utility fades. What is left is an enduring insistence: a trace that stays long enough to become truth. Here, the works do not mourn ruin but rather, bears it as what it means to carry time without choice, without question. In her previous works, Tranquilino traced the human figure: its gestures, its weight, and its vulnerability. Now, she shifted the focus to those that once accompanied those gesticulations and those that endured it. In doing so, she distills emotion into material. Quiet, concealed, but overflowing.</image:caption>
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