Born to a Dutch mother and a Filipino sea captain from the municipality of Madridejos, Atienza’s deep ties with the coastal community of Bantayan led the impulse to document the lives of the fishermen and seafarers, many of whom she had known as classmates and neighbors. Hopping on fishing boats and spending weeks on an international cargo vessel, Atienza entered spaces that rarely welcomed women, as elder fisherfolk believed that women were bad luck.

Over the next two months, Silverlens New York is hosting two concurrent solo exhibitions. Titled ‘There is Still a Tomorrow, Mother’, the exhibition centres itself around the work of Imelda Cajipe Endaya, marking the pioneering artist’s first solo exhibition in the US in nearly two decades. Curated by Eugenie Tsai, the exhibition examines the depiction of Filipino women across nearly half a century of Cajipe Endaya’s extensive oeuvre.

In anticipation of her solo exhibition There is Still a Tomorrow, Mother and in honor of Labor Day in the Philippines, Imelda Cajipe Endaya welcomes us into her studio and home to recount stories from her artistic practice spanning nearly half a century. Cajipe Endaya's first solo exhibition in the U.S. in two decades, There is Still a Tomorrow, Mother, curated by Eugenie Tsai, will feature the artist's works from 1982 to 2023, capturing what the artist has focused on for nearly half a century: the role of Filipino women through the arc of history.