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Mugna Art Gallery is a platform dedicated to promoting local culture and fostering creativity through supporting emerging and undiscovered artists, offering a space for artistic expression and interaction with the community and wider audiences.

June 8 - July 7, 2024

Detached

Aze Ong
Mugna Gallery
Valencia, Negros Oriental, Philippines

About

Detachment implies separation–getting ripped apart. Aze Ong complicates the concept as she only lets go after holding on too long and embracing tightly. The practice of crochet is intuitive and tactile, with the artist pouring her being into form. Ong sits meditatively for hours–crocheting without counting, feeling her way through the yarn, twisting and knotting as she processes life, emotions, and intentions. Ties that bind for each crochet need balance–tight enough for durability, yet flowing to let air in and give space for movement.

Ong’s works are personal. She creates through joy, pain, and for this series, detachment. Her detachment is not out of insensitivity or rejection, rather, it is letting things be and allowing things to fall into place after they take over her being. Detachment (Yin) permits the emptiness–the wispy lines akin to a breathing space permitting the potential for new things to come again. Detachment (Yang) overflows–acknowledging the challenges and struggles, embracing them as part of what is before sending them back into the universe.
Tracing crochet and textile works reveals a feminine and communal practice. In the contemporary moment, crochet ceases to be solely women’s craft but the intuitive nature of the work anchors from a long history of women crochet artists and artisans making personal and commercial works, crossing the lines of art and commerce. From utilitarian objects such as wallets, bags, and hats to decorative objects including plushies, flowers, and table runners–crochet possibilities are innumerable. Personal functionality aside, crochet can augment income when sold. In between child-rearing and housework, present is a community of women who crochet to fill the financial gap–individually and in groups. Crochet as practice continues as a creative and practical solution for many women in contemporary society.

Initially, Ong was apart from the community of women in crochet and textiles. Hers was an individual practice, leaning on experimentation and breaking the traditions of form. Yet, she has always sought connections–from indigenous weavers to online crochet communities. Though rooted in tradition, Ong’s practice was not taught or handed down but learned and discovered. Accepting the absence of rootedness and opening up to the community is part of her growth process. She finds her place in the community by detaching from the burden of expected history.

Ong’s strength is in continuous experimentation, letting her being–identity, frustrations, anger, joy, resolutions, and peace–seep into each strand of yarn she bends to her will as she bends along with it. Dependent on materiality, its limits and possibilities evolve as she does. Where counting is the norm, she refuses to count–where patterns are involved, she shatters. Instead, she allows her sense of self and experiences to permeate her works–her spirituality solidifying through her artworks.

Aze Ong (b. 1977) wills fiber into forms of delicate structures that take lives of their own or that flourish into environments or bloom as installations. Her process is intricate as it is intuitive, shaped by thresholds of physical endurance or determinations of duration. Life, art and performance is the weaving of her soul to the heart, mind and body.

She was the recipient of the Asian Cultural Council (ACC) Fellowship in 2016. Her works have been featured in institutional and gallery exhibitions in Singapore, Abu Dhabi, the Kingdom of Saudi Arabia, South Korea, Canada, the United States, among others. She completed an artist residency at Topaz Arts, Inc. and Bliss on Bliss Art Projects in Queens, New York. She was a part of the exhibition Fabric of Being organized by SEA Junction with UNFPA at the ICPD25 Nairobi Summit. Her works are included in the exhibit Threads at the Ukranian Institute of Modern Art, Chicago.

SELECTED EXHIBITIONS

2024
“Transformation” Gravity Art Space, Philippines

2023
“Threads” Ukranian Institute of Modern Art, Chicago USA, group show
“The Great Show” The Drawing Room Contemporary Art Philippines, group show
“Eventuality” West Gallery, Philippines, Two-person show

2022
“Transcendence” Artfair Philippines Special Projects

“Between High Tide / Low Tide” Cannaregio, Calle de le Vele, Venezia Italy, group show

“The Hat of the Matter” Metropolitan Museum of Manila, BGC Makati, group show

2021
“Divine Surrender” Modeka Art Gallery, Solo show

“Threads” Bliss on Bliss Art Projects, Topaz Arts, Flux Factory New York and The Drawing Room Gallery Philippines, Group show

“A WILL FOR PROLIFIC DISCLOSURES” The Drawing Room Contemporary Art, Philippines, group show

“IMOGEN” Modeka Contemporary Art Gallery, Philippines

“Enclosed Garden” Heroines wave, virtual exhibit, group show

“Super Domestic” Asukal space, virtual exhibit, group show

2020
“QUEEN AZENITH” Sculptural Performance on top of our residential roof, Public Art Project at a time of a pandemic

“ONLINE SELLING QUEEN” Public Art Project at a time of a pandemic

2019
“GENDER METAMORPHOSIS” ICPD25, UNFPA Nairobi summit, Kenya

“STITCHING BOUNDARIES” Bliss on Bliss Art Projects & Yant Art Space, New York, The GedAze Project Collaboration

“PAGTITIPON” RoundHouse Community Art Center, Vancouver Canada, Group Show

“KANLUNGAN” National Commission for Culture and the Arts, Philippines, The GedAze Project Collaboration

“MONSTERS” Kabit at Sabit Load na Dito Project on Public Art, Philippines

“BOUND” King Abdulaziz Camel Festival Residency and Exhibit, Kingdom of Saudi Arabia

2018
“I AM LIVING WITH MONSTERS” Art Portal Gallery for Contemporary Art Davao Philippines, Solo show

“ATTACHED” Art Informal Gallery Philippines, Solo show

“STRANDS” Pinta*Dos Gallery, San Pedro California USA, Group show

“STEM” Bencab Museum, Baguio Philippines, The GedAze Project Collaboration

“PASSAGE” Singapore Art Museum, The GedAze Project Collaboration

“LIWANAG” The Drawing Room Contemporary Art Gallery, Manila Philippines, Solo show

Artfair Philippines, Gallery Stephanie booth Manila Philippines, Group show

2017
“OPEN THREADS” Topaz Art Inc. New York USA, The GedAze Project Collaboration

“EXISTENCE” UP Vargas Museum Philippines, The GedAze Project Collaboration

“RIPPPLES & LAYERS” Museo Sanso Philippines, Group show

Artfair Philippines, The Drawing Room Contemporary Art Gallery booth Manila Philippines, Group Show

“FIELDTRIP PROJECT ASIA” Museum Tsunami Aceh, Indonesia, Group show
“FIELDTRIP PROJECT ASIA” Kuala Lumpur Biennale, Malaysia, Group show

2016
“LIWANAG SA KAWALAN NG KULAY” Yuchengco Museum Philippines, Solo show

“COMMON THREADS” The Drawing Room Contemporary Art Philippines, Group show

“SOUND IN OUR HEAD” Bliss on Bliss Art Projects New York, The GedAze Project Collaboration

“ASIA YOUNG 36” Jeonbuk Museum of Art, Korea, Group show

2015
“WALONG FILIPINA” Philippine Embassy Washington DC, USA, Group Show

“LIWANAG” Cultural Center of the Philippines, Solo Show

“I LOVE YOU, MOSQUE” Abu Dhabi Art Hub, UAE, Solo Show

“HIWAGA” The Crucible Gallery Philippines, Solo Show

2014
“LIWANAG” Museo de La Salle Philippines, Solo show

“MY SOUL’S LIGHT” Museo Pambata Philippines, Solo show

2013
“LIWANAG” National Commission for Culture and the Arts (NCCA) Philippines, Solo show

“LIWANAG” GSIS Museum Philippines, Solo show

2012
“LIWANAG” San Beda Museum, Alabang Philippines, Solo show

2011
“LIWANAG” Kanlungan ng Sining Art Association of the Philippines, Solo show

WORKS IN THE COLLECTION OF:
• Menarco Vertical Museum
• Museo Pambata
• Jeonbuk Museum of Art, Korea

PERFORMANCES

2019
Responding x SIPAF Performance Art Festival, Osaka Japan
2018
SIPAF Performance Art Festival, Philippines
EQUINOX at UP Vargas Museum grounds
2017
LiveArt.US, Queens Museum New York
Micro Event of Tsuneko Taniuchi, Emily Harvey Foundation New York

Grants/Residencies/Features:
*Tatler Asia, Philippine Star, GMA Network, VoguePh, 2022
*ICPD25 United Nations Population Fund, Kenya, 2019
*Artist Residency at Bliss on Bliss Art Projects, New York, 2019
*King Abdulaziz Camel Festival Artist Residency, Kingdom of Saudi Arabia, 2019
•Summer Residency at Topaz Arts Inc, 2017
•Asian Cultural Council (ACC) Grantee, 2016
•Abu Dhabi Art Hub Residency, 2015
•featured in MAPEH on the Go 10, K to 12 edition Textbook, Sunshine Interlinks Publishing copyright 2015
•featured in Living with Music, Art, Physical Education & Health Textbook, Vibal Group, Inc. publishing copyright 2017
•featured in Filipino Identity in the Arts by Laya Boquiren, Vibal Group Inc. publishing copyright 2017
*BBC Brasil 2011
*Contributor: pages 149 – 152 An Anthology of Non-Conformism edited by Epifania Akosua Amooo-Adare and Rapti Siriwardane-de Zoysa, DIO Press Inc, New York, 2024

Detachment implies separation–getting ripped apart. Aze Ong complicates the concept as she only lets go after holding on too long and embracing tightly. The practice of crochet is intuitive and tactile, with the artist pouring her being into form. Ong sits meditatively for hours–crocheting without counting, feeling her way through the yarn, twisting and knotting as she processes life, emotions, and intentions. Ties that bind for each crochet need balance–tight enough for durability, yet flowing to let air in and give space for movement.

Ong’s works are personal. She creates through joy, pain, and for this series, detachment. Her detachment is not out of insensitivity or rejection, rather, it is letting things be and allowing things to fall into place after they take over her being. Detachment (Yin) permits the emptiness–the wispy lines akin to a breathing space permitting the potential for new things to come again. Detachment (Yang) overflows–acknowledging the challenges and struggles, embracing them as part of what is before sending them back into the universe.
Tracing crochet and textile works reveals a feminine and communal practice. In the contemporary moment, crochet ceases to be solely women’s craft but the intuitive nature of the work anchors from a long history of women crochet artists and artisans making personal and commercial works, crossing the lines of art and commerce. From utilitarian objects such as wallets, bags, and hats to decorative objects including plushies, flowers, and table runners–crochet possibilities are innumerable. Personal functionality aside, crochet can augment income when sold. In between child-rearing and housework, present is a community of women who crochet to fill the financial gap–individually and in groups. Crochet as practice continues as a creative and practical solution for many women in contemporary society.

Initially, Ong was apart from the community of women in crochet and textiles. Hers was an individual practice, leaning on experimentation and breaking the traditions of form. Yet, she has always sought connections–from indigenous weavers to online crochet communities. Though rooted in tradition, Ong’s practice was not taught or handed down but learned and discovered. Accepting the absence of rootedness and opening up to the community is part of her growth process. She finds her place in the community by detaching from the burden of expected history.

Ong’s strength is in continuous experimentation, letting her being–identity, frustrations, anger, joy, resolutions, and peace–seep into each strand of yarn she bends to her will as she bends along with it. Dependent on materiality, its limits and possibilities evolve as she does. Where counting is the norm, she refuses to count–where patterns are involved, she shatters. Instead, she allows her sense of self and experiences to permeate her works–her spirituality solidifying through her artworks.

Aze Ong (b. 1977) wills fiber into forms of delicate structures that take lives of their own or that flourish into environments or bloom as installations. Her process is intricate as it is intuitive, shaped by thresholds of physical endurance or determinations of duration. Life, art and performance is the weaving of her soul to the heart, mind and body.

She was the recipient of the Asian Cultural Council (ACC) Fellowship in 2016. Her works have been featured in institutional and gallery exhibitions in Singapore, Abu Dhabi, the Kingdom of Saudi Arabia, South Korea, Canada, the United States, among others. She completed an artist residency at Topaz Arts, Inc. and Bliss on Bliss Art Projects in Queens, New York. She was a part of the exhibition Fabric of Being organized by SEA Junction with UNFPA at the ICPD25 Nairobi Summit. Her works are included in the exhibit Threads at the Ukranian Institute of Modern Art, Chicago.

SELECTED EXHIBITIONS

2024
“Transformation” Gravity Art Space, Philippines

2023
“Threads” Ukranian Institute of Modern Art, Chicago USA, group show
“The Great Show” The Drawing Room Contemporary Art Philippines, group show
“Eventuality” West Gallery, Philippines, Two-person show

2022
“Transcendence” Artfair Philippines Special Projects

“Between High Tide / Low Tide” Cannaregio, Calle de le Vele, Venezia Italy, group show

“The Hat of the Matter” Metropolitan Museum of Manila, BGC Makati, group show

2021
“Divine Surrender” Modeka Art Gallery, Solo show

“Threads” Bliss on Bliss Art Projects, Topaz Arts, Flux Factory New York and The Drawing Room Gallery Philippines, Group show

“A WILL FOR PROLIFIC DISCLOSURES” The Drawing Room Contemporary Art, Philippines, group show

“IMOGEN” Modeka Contemporary Art Gallery, Philippines

“Enclosed Garden” Heroines wave, virtual exhibit, group show

“Super Domestic” Asukal space, virtual exhibit, group show

2020
“QUEEN AZENITH” Sculptural Performance on top of our residential roof, Public Art Project at a time of a pandemic

“ONLINE SELLING QUEEN” Public Art Project at a time of a pandemic

2019
“GENDER METAMORPHOSIS” ICPD25, UNFPA Nairobi summit, Kenya

“STITCHING BOUNDARIES” Bliss on Bliss Art Projects & Yant Art Space, New York, The GedAze Project Collaboration

“PAGTITIPON” RoundHouse Community Art Center, Vancouver Canada, Group Show

“KANLUNGAN” National Commission for Culture and the Arts, Philippines, The GedAze Project Collaboration

“MONSTERS” Kabit at Sabit Load na Dito Project on Public Art, Philippines

“BOUND” King Abdulaziz Camel Festival Residency and Exhibit, Kingdom of Saudi Arabia

2018
“I AM LIVING WITH MONSTERS” Art Portal Gallery for Contemporary Art Davao Philippines, Solo show

“ATTACHED” Art Informal Gallery Philippines, Solo show

“STRANDS” Pinta*Dos Gallery, San Pedro California USA, Group show

“STEM” Bencab Museum, Baguio Philippines, The GedAze Project Collaboration

“PASSAGE” Singapore Art Museum, The GedAze Project Collaboration

“LIWANAG” The Drawing Room Contemporary Art Gallery, Manila Philippines, Solo show

Artfair Philippines, Gallery Stephanie booth Manila Philippines, Group show

2017
“OPEN THREADS” Topaz Art Inc. New York USA, The GedAze Project Collaboration

“EXISTENCE” UP Vargas Museum Philippines, The GedAze Project Collaboration

“RIPPPLES & LAYERS” Museo Sanso Philippines, Group show

Artfair Philippines, The Drawing Room Contemporary Art Gallery booth Manila Philippines, Group Show

“FIELDTRIP PROJECT ASIA” Museum Tsunami Aceh, Indonesia, Group show
“FIELDTRIP PROJECT ASIA” Kuala Lumpur Biennale, Malaysia, Group show

2016
“LIWANAG SA KAWALAN NG KULAY” Yuchengco Museum Philippines, Solo show

“COMMON THREADS” The Drawing Room Contemporary Art Philippines, Group show

“SOUND IN OUR HEAD” Bliss on Bliss Art Projects New York, The GedAze Project Collaboration

“ASIA YOUNG 36” Jeonbuk Museum of Art, Korea, Group show

2015
“WALONG FILIPINA” Philippine Embassy Washington DC, USA, Group Show

“LIWANAG” Cultural Center of the Philippines, Solo Show

“I LOVE YOU, MOSQUE” Abu Dhabi Art Hub, UAE, Solo Show

“HIWAGA” The Crucible Gallery Philippines, Solo Show

2014
“LIWANAG” Museo de La Salle Philippines, Solo show

“MY SOUL’S LIGHT” Museo Pambata Philippines, Solo show

2013
“LIWANAG” National Commission for Culture and the Arts (NCCA) Philippines, Solo show

“LIWANAG” GSIS Museum Philippines, Solo show

2012
“LIWANAG” San Beda Museum, Alabang Philippines, Solo show

2011
“LIWANAG” Kanlungan ng Sining Art Association of the Philippines, Solo show

WORKS IN THE COLLECTION OF:
• Menarco Vertical Museum
• Museo Pambata
• Jeonbuk Museum of Art, Korea

PERFORMANCES

2019
Responding x SIPAF Performance Art Festival, Osaka Japan
2018
SIPAF Performance Art Festival, Philippines
EQUINOX at UP Vargas Museum grounds
2017
LiveArt.US, Queens Museum New York
Micro Event of Tsuneko Taniuchi, Emily Harvey Foundation New York

Grants/Residencies/Features:
*Tatler Asia, Philippine Star, GMA Network, VoguePh, 2022
*ICPD25 United Nations Population Fund, Kenya, 2019
*Artist Residency at Bliss on Bliss Art Projects, New York, 2019
*King Abdulaziz Camel Festival Artist Residency, Kingdom of Saudi Arabia, 2019
•Summer Residency at Topaz Arts Inc, 2017
•Asian Cultural Council (ACC) Grantee, 2016
•Abu Dhabi Art Hub Residency, 2015
•featured in MAPEH on the Go 10, K to 12 edition Textbook, Sunshine Interlinks Publishing copyright 2015
•featured in Living with Music, Art, Physical Education & Health Textbook, Vibal Group, Inc. publishing copyright 2017
•featured in Filipino Identity in the Arts by Laya Boquiren, Vibal Group Inc. publishing copyright 2017
*BBC Brasil 2011
*Contributor: pages 149 – 152 An Anthology of Non-Conformism edited by Epifania Akosua Amooo-Adare and Rapti Siriwardane-de Zoysa, DIO Press Inc, New York, 2024

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