THE PASSAGE (Environmental Documentary)

THE PASSAGE documentary film (19 minutes) 2024

THE PASSAGE, a collaboration between Robert Suntay and The SEA Institute, Studio H20, Manila Media, and Central Digital Lab, in partnership with Constructive Visions – a global group of National Geographic Explorers who united in April 2020 to begin reflecting on how behavioral changes under COVID-19 were positively and negatively affecting society’s relationship with nature, and asked what the world look a few years from now if our positive changes in behavior were maintained in the long run?

An Official Selection at the world-renowned International Ocean Film Festival in San Francisco, has been awarded as semi-finalist at the Serbest International film festival in Serbia, and Winner at the Nature Without Borders Film Festival.

Director, Producer & Underwater Cinematographer BOOGS ROSALES Host AKIKO GUEVARA Producers MANET DAYRIT (Central Digital Lab Inc.) ELLA MARTELINO (Manila Media Inc.) Writer JOY SORIANO Director of Photography JED REGALA Editor JAZEL KRISTIN Executive Producer and Underwater Cinematographer ROBERT SUNTAY

DAHICAN (Environmental Documentary)

DAHICAN FILM (23 minutes) 2023

Despite coming from a family of poachers and having limited resources, a group of surfers based in Dahican Beach in the southern province of Davao Oriental in the Philippines have taken it upon themselves to educate the community and safeguard the marine life in the area.

Director & Cinematographer BOOGS ROSALES Line Producer ELLA MARTELINO Writer JOY SORIANO

Assistant Director JAZEL KRISTIN Editor REMBRANDT FLORESCA Production House MANILA MEDIA INC.

MARIA MARIA (Benilde Open)

The Collective NOW (Maria Maria collaborators) at Benilde Open

𝙈𝙖𝙧𝙞𝙖, 𝙈𝙖𝙧𝙞𝙖 is a collaborative work structured around collective care between artists and the community, developed in 2020 by Lala Monserrat. This project was created in Barangay San Miguel in San Antonio, Zambales with collaborators Russ Ligtas, Geric Cruz and Jazel Kristin, along with the healer-tellers LGBTQ community.

Photographs in “Maria, Maria” by Geric Cruz in collaboration with Lala Monserrat, Russ Ligtas and Jazel Kristin, along with the LGBTQ Community of Barangay San Miguel in San Antonio, Zambales.
Sculpture in “Maria, Maria” by Lala Monserrat in collaboration with Russ Ligtas, Geric Cruz and Jazel Kristin, along with the LGBTQ Community of Barangay San Miguel in San Antonio, Zambales.

Maria, Maria, was poetry as told through haunting images, motion, and material. Monserrat and her collaborators employed symbols and gestures across videos, photography, and sculpture to comment on religion, queer resilience, and trauma. In the exhibition space, the sculptures were hung from the ceiling next to a wall of photographs as the documentary took on an autobiographical slant by showing the reconstruction of everyday objects through casting. 

RELATED ARTICLE: https://cartellino.com/features/2024/07/08/The-2024-Benilde-Open-takes-flight-with-ambitious-grants

A THOUSAND SPLENDID FEET & A SWARM OF FORTUNE (Art Plus)

An avid solo traveler outside of work, Jazel believes “food is a wordless expression of a locale’s culture. You can’t intellectualize it, you can write essays and photograph it all you want, but tasting it is the only way to really know it.”

Millipedes and food, an unlikely tandem, even if ecologically intimate (the digestor? The digestee?) thus became the subjects of A Thousand Feet, her culminating project for her three-month Koganecho Artist Residency Program in 2022.

Koganecho AIR program 2022

She cut up some of her printed food photos into the shapes of millipedes. She made many. A swarm. Like the one that stopped that train on its tracks.

Food and solo travel and chance encounters, moments of light shared with strangers, which reveal that past one’s ego, well into humanity, and well into communion, there are no strangers. And yet, the masks are always slipped back on, masks which we need in order to function in society, in civilization. “Your presence,” Jazel smiles, “can be a present.”

ART PLUS LINK: https://artplus.ph/features/a-thousand-splendid-feet-and-a-swarm-of-fortune

12 x 9 x 35 WEST GALLERY 35th ANNIVERSARY EXHIBITION

KISSPIRIN at AKAPSUL (mixed media / photo collage) 12 x 9 inches (2024)

ABSENCE MAKES PRESENCE (98b Collaboratory)

A journey through the layers of life experienced during the pandemic, “Absence Makes Presence” tells a story of resilience and the beauty found in everyday moments.

The first layer emerged in 2020 – a series of magazine pages with human forms cut out, creating a visual echo of a world potentially devoid of our presence. It’s a glimpse into a future where our existence is merely a memory, evoking contemplation on the fragility of life.

The sunflower playntings (play + paintings) of 2021 bloom from a simple act of self-care – buying a fresh sunflower to brighten days in isolation. What started as a blind contour drawing evolved into a colorful exploration of transformation. The excitement of where it could lead, whether it would change or remain as it is, echoes the uncertainty of those times.

Recent layers reveal punched papers with exposed holes, offering a retrospective glance at the artist’s journey. The resulting chad-like confetti becomes a celebration of life in 2023, now embraced as a full-time “heartist.”

Neither here nor there. Empty yet full. “Absence makes Presence” encapsulates the exhibit’s essence, serving as a testament to artistic resilience. It urges us all to find beauty and strength in the layers of our shared human experience.

FROM MAGINHAWA TO KOGANECHO, WITH LOVE (Cartellino)

Coming across a news item about how in 1920, a swarm of millipedes looking for food stopped a train on its tracks north of Tokyo, Kristin then realized what her residency project should be. Thus, A Thousand Feet was born.

In the Japanese and Filipino versions of the exhibit, millipedes populate each work: Photo collages, resin sculptures, a wall where visitors tack millipede-shaped cutouts of her food photos from Japan, more of said cut-outs served on sushi and tempura plates, and the main piece, a panoramic photo of the Koganecho skyline where a giant millipede snakes through the buildings, entering a window that apparently belongs to the room where she stayed.

THE GREAT TAKEOVER (Gravity Art Space)

Arriving in Japan as a free spirit, she found out that some of her ways clashed with how people usually did things there. She learned that not all of her planned executions would turn out the way she initially envisioned. Nonetheless, “it was a good dynamic, the push and pull and meeting halfway. Koganecho changed me, but I think I changed it too somehow.”

Koganecho AIR Program 2022

HAPPY MEALS COLLAGE ART WORKSHOP for Kids (Purita Kalaw-Ledesma Center)

We are excited to invite you to a collage art workshop facilitated by visual artist and filmmaker Jazel Kristin. In this workshop, you will cut, paste, and combine photographs and magazine pages to create a picture of your favorite dessert.

Food and consumption are recurring themes in Jazel’s artistic practice. The title of the workshop “Happy Meeeeeals” is inspired by her collage works about the meals that made her happy while being away from home. Do you enjoy sharing a meal with your family and friends? What food makes you feel happy?

This is a public program for the exhibit Trace the Tracelessness of the Ant at the PKL Center.

LA LOBA (White Walls Gallery)

I AM MEANT TO BE HERE, I AM WHERE I SHOULD BE (photo collage on plate) 13 inches (dimension)
MU (handmade photo collage) 13 inches (dimension)
TATHAGATHA (photo collage on plate) 13 inches (dimension)

Jazel Kristin went on a 40-day trip to Bhutan, Laos, Myanmar & Thailand and used images from her journey to create these collages. For her, travel and food are important aspects of her life. Taking photos of her food helps her remember the stories and feelings of eating in new places.

A THOUSAND FEETS (Gravity Art Space)

“In A Thousand Feets, Jazel continues her love affair with food and photography through her autobiographic explorations of the story-telling faculties of photo collage. From reconstructions of meals to frenetic scenes of multi-limbed monsters running amok, she unpacks a travel bag of memory and reverie from a journey of the gut—that which digests our food and that which we call the organ of our intuition. Millipede cut-outs populate her compositions that resemble gastronomic plates, labyrinthine train maps, and playful illustrations both familiar and fantastic. They are made from a photographic archive of meals and moments taken from her daily trips within the maze of Yokohama. As in the locomotive millipede that weaves through the forest floor in search of sustenance, Jazel scoured the city for inspiration, traversing on foot and on trains through its districts, streets, restaurants, and diners, even tunneling down its deeper subterranean narratives—including the 1920 incident that inspired the title. Much like the millipede’s first thousand steps on the shore, she sets herself loose, wide-eyed and open to the strange, the new, and the unexpected. Here, in her playful curiosity and hunger for discovery, she beckons us to get lost with her—to wander, to find, and then to be found.”

– An excerpt from the exhibition text written by Russ Ligtas

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