PRESS | NEW YORK18 June 2025
Care Work | On Imelda Cajipe Endaya
The country’s crippled economy also forced her to become resourceful by incorporating materials that were locally sourced and readily available into her works. May Bukas Pa, Inay (There is Still Tomorrow, Mother), 1982—from which the current survey of Cajipe Endaya’s work at Silverlens in New York, curated by Eugenie Tsai, takes its title—exemplifies her paintings of this period. The ground of the painting is a collage of canvas and sawali, a bamboo-matted panel traditionally used as partitions and window coverings in rural parts of the Philippines.
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