As Women’s History Month unfolds across the Philippines, the nation’s art scene bursts with energy, placing Filipina artists at the forefront of creative expression. From thought-provoking exhibitions in Manila’s galleries to international showcases in Tokyo, the diversity, depth, and dynamism of these women’s work are redefining the cultural landscape. This month, their voices resonate louder than ever, offering powerful reflections on identity, society, and resilience through a range of mediums and perspectives.

The timing couldn’t be more fitting. March has become a platform for celebrating female talent in the Philippines, with galleries and creative spaces hosting a slew of exhibitions that highlight the unique contributions of Filipina artists. Beyond all-women shows, individual and collaborative efforts are drawing crowds, showcasing everything from printmaking to conceptual painting, and from fashion history to digital critique. These displays not only honour the artists’ craft but also amplify critical conversations about the female experience in a rapidly evolving world.

At the heart of this cultural wave is Isabel Santos, whose latest solo exhibition, “Again and Again, Until You Believe It,” opens today at Blanc Gallery in Quezon City. Santos’ work delves into the theme of repetition, mirroring her personal journey of self-conviction and transformation. Reflecting on the title, which she scribbled on a whiteboard two years ago, Santos muses on the process of change: “Maybe that’s how I convince myself or how I learn certain things and habits. How I am able to have significant changes in my life.” Her show, running until 29 March, challenges viewers to ponder whether the artistic process or the final outcome holds greater weight, inviting a deeper look at movement versus fixed goals.

Equally captivating is Valerie Chua’s “Pretty Pointless Things” at West Gallery, also in Quezon City, which critiques society’s fleeting consumption of digital content. Through pastel-coloured paintings of mundane objects like fish and plastic bags, Chua mirrors the curated, filtered lives presented online. Her stylised aesthetic—achieved by flattening images and reducing shadows—comments on how digital culture commodifies images, often stripping them of meaningful engagement. Running until 29 March, Chua’s work offers a poignant reflection on “vibe culture” and the ephemeral nature of modern content.

Meanwhile, Lui Gonzales, known as a singer-songwriter, reveals her prowess as a visual artist in “A Tree Is A Seed As It Falls” at Kaida Contemporary Gallery. Using layers of tracing paper—sometimes up to five sheets—Gonzales crafts intricate worlds with delicate, torn edges that evoke movement and depth. Her latest pieces blend personal belongings with outdoor scenes, collapsing past, present, and future into a timeless narrative. As she notes in a social media post, her work surveys “immediate surroundings,” from house exteriors to musical instruments, suggesting the quiet passage of time. The exhibition runs until 21 March.

Beyond Manila, Filipina artists are making their mark on the global stage. At Art Fair Tokyo, running from 7 to 9 March, Galerie Stephanie—the only Filipino exhibitor—presents an all-women booth featuring young talents under 30. Artists like Kim Borja, with her melancholic, childlike figures, and Jem Magbanua, who explores place through distinct landscapes, join Naburok and Thea Quiachon in showcasing a blend of digital, traditional, and abstract expressionist works. Their collective presence underscores the growing international reach of Filipina creativity.

Back in Manila, the Metropolitan Museum pays homage to a pioneer with “Timeless: J. Moreno,” a special exhibition on Filipino fashion designer Pitoy Moreno, which opened on 27 February. Curated by Dr. Florina H. Capistrano-Baker, the display celebrates Moreno’s reinventions of the Maria Clara gown and his innovative use of textiles like jusi, piña, and Japanese brocades. Iconic pieces, including a tiny wedding gown worn by former President Gloria Macapagal-Arroyo and images of Rita Moreno’s Oscar-winning dress from 1962, highlight his lasting impact on Philippine couture.

Adding to the diversity of offerings, Chris Ramos’ first solo show, “An Artventure: 2015-2025,” at RiseSpace Art Gallery in Makati, spans 63 artworks across seven thematic phases. From tributes to Van Gogh and The Beatles to seascapes and miniature collaborations, Ramos’ work culminates in a bold celebration of body positivity with painted vulvas—a direct challenge to patriarchal norms. Running from 8 to 22 March, her exhibition ties into Women’s Month with a phase dedicated to women’s empowerment, reflecting her activism through initiatives like “Pink Positive,” a campaign for politician Leni Robredo.

Collaborative efforts also shine, as seen in “Creative Non-Fiction” at Everything’s Fine in Makati, opening today. Printmakers France Daffon and Angela Silva, alongside 15 other women from the Hanan Initiative, respond to contemporary Filipina literature by Katrina Stuart Santiago and Zea Asis. Daffon’s signature blue anino figures and Silva’s cyanotype artistry merge with the collective’s vision, creating a powerful intersection of visual and literary expression.

Further afield, Kim Lim’s “Teeth and Tenderness” at Tang Contemporary Bangkok captures the duality of womanhood—strength and softness, wildness and warmth. Describing women as embodying both “bite and balm,” Lim’s work honours their quiet resilience and capacity to fight and heal. As an advocate for arts education through her work with the Kapit Kulay Foundation, where she empowers incarcerated women through art, Lim’s exhibition extends her impact beyond the gallery walls.

These exhibitions, alongside others like Maria Taniguchi’s survey “Body of Work” at Benilde’s Museum of Contemporary Art and Design—featuring her iconic monochromatic brick paintings—and Norberto Roldan’s “No Winter Lasts Forever” at Silverlens Manila, reflect the breadth of Philippine artistry. Taniguchi’s show, running until 30 March, explores materiality and conceptual space, while Roldan’s incorporates found objects from Berlin flea markets, reimagined in his unique style.

As Women’s History Month progresses, the spotlight on Filipina artists serves as a reminder of their vital role in shaping cultural discourse. Their works—spanning personal introspection, societal critique, and historical reverence—demonstrate not just artistic skill but a profound ability to connect, challenge, and inspire. From local galleries to international fairs, these women are carving out spaces where their voices can be heard, ensuring that their contributions to Philippine art are neither fleeting nor overlooked.

This vibrant showcase, categorised as a filler story due to its cultural focus without immediate geopolitical or economic stakes, captures a moment of celebration and reflection. It’s a testament to the growing platform for Filipina artists, whose collective impact continues to resonate, amplifying diverse narratives and redefining what it means to create in today’s world.