Paranoia and Wilderness unfolded at Orange Project, Bacolod (8 November 2025 – 7 January 2026) as an excavation of fear—not as weakness or pathology, but as a form of intelligence shaped by place, history, and lived experience. Rooted in the Philippine landscape, where dense wilderness has long been perceived as sentient and unpredictable, the exhibition drew from Hiligaynon vocabularies of unease—kulba, kakugmat, kibang, and mariit—to name the subtle, persistent tensions that arise when one navigates the unknown.

Yet the “wilderness” in this exhibition was not confined to jungle or terrain. As the artists collectively revealed, paranoia has migrated inward and outward at once—into institutions, bodies, belief systems, relationships, and memory. Across mediums and generations, each artist acted as an explorer, transforming dread into something intimate, legible, and strangely familiar.

This conversation brings together three artists from Paranoia and Wilderness—Burog Alvarado, Mikiboy Pama, and Zabiel Nemenzo—whose practices are deeply rooted in Negros yet expansive in their social and emotional reach.
For Burog Alvarado, paranoia emerges from childhood memory and communal belief. Growing up in Fabrica, Sagay City—near flood-prone rivers and amid stories of tuyaw—his work reflects what he describes as “the interplay between the unknown and the familiar, urging us to seek joy with fairness, to tread lightly yet bravely, and to let caution and wonder share the same breath.” Drawing from resourcefulness and inherited creativity, Alvarado understands art as a shared language shaped by place, ethics, and collective history.

Mikiboy Pama approaches paranoia as a contemporary condition triggered by global conflict—war, religion, genocide, corruption—filtered through personal anxiety and lived observation. His works in the exhibition function as a visual diary, shaped by moments of fear and recalibrated through reconnection with nature. “This body of work is not an escape from reality,” he reflects, “but a reflection on why humanity chooses conflict over reconnection with nature.” Grounded in Bacolod’s socio-political realities and informed by living between Christianity and Islam, Pama’s practice resists fixed identity, favouring process, metaphor, and dialogue.

For Zabiel Nemenzo, paranoia is inseparable from gendered experience and systemic violence. Her works fall under the framework of Hysteria—a historically misogynistic diagnosis—reclaiming women’s psychological trauma as both personal and political. Triggered by a friend’s experience of sexual harassment and victim-blaming, Nemenzo asserts art as responsibility: “to disturb the comfortable and comfort the disturbed.” Through embroidery—a medium tied to her own survival after childhood heart surgery—threads become symbols of resilience, continuity, and voice, insisting that even the most intimate struggles are embedded within larger structures of power.

Together, Alvarado, Pama, and Nemenzo illuminate how paranoia can function as alertness, intuition, and care—an inherited sensitivity shaped by environment, belief, and survival. In their hands, fear is not something to be eradicated, but something to be understood, listened to, and transformed—offering a deeper meditation on what it means to make, to belong, and to call a place home.

CNTRFLD. Your Work in the Show:
Can you walk us through your work in Paranoia and Wilderness? What drew you to this theme, and how does your work explore the tension between the unknown and the familiar?

BA. The interplay between the unknown and the familiar, urging us to seek joy with fairness, to tread lightly yet bravely, and to let caution and wonder share the same breath.

MP. Paranoia and Wilderness is a series of three artworks drawn from my personal experiences, functioning as a visual diary created within a specific period of time. The works are shaped by global conflicts like war, religion, genocide, and corruption, which triggered my fear and anxiety. In searching for peace, I began reconnecting with nature through daily biking and trail exploration. In these moments, I experience tranquillity and spiritual grounding. This body of work is not an escape from reality, but a reflection on why humanity chooses conflict over reconnection with nature, offering a positive awareness to the community.

ZM. My series of works under the concept of "Paranoia and Wilderness" falls under the umbrella of Hysteria, a common mental diagnostic for women during the 19th century that played a role for patriarchal control. Hysteria (hystera) from the Greek word for "uterus" is an ancient belief that a "wandering uterus" caused various emotional and mental ailments to women. My works echo my personal interpretation of women's psychological trauma from social struggles rooted from the system that played a complex interplay of misogyny in terms of social, cultural, and psychological. With historical references, my works extend to the modern nuances of women's experiences of psychological abuse after harassment. A concept and a feeling that is familiar to us women but unknown to men.

CNTRFLD. A Personal Spark:
Is there a specific memory, moment, or feeling from your life that inspired this work or shaped how you approached it?

BA. These artwork draws inspiration from my childhood in Fabrica, Sagay City, Negros Occidental a time marked by both wonder and fear. Growing up near the river, we lived with the constant threat of flooding, a force that shaped our sense of caution and resilience. Alongside this, we experienced local beliefs such as ‘Tuyaw,’ a diabolic spell that instilled mystery and unease in our community. These memories of vulnerability and cultural mysticism inform the work, reflecting the tension between safety and danger, reality and superstition.

MP. During my episodes of anxiety, my partner is always there to comfort and support me. This unconditional love became a source of inspiration in my work. Love, for me, is a key that leads back to sanity, grounding me amid fear and uncertainty.

ZM. My original concept for this show is different and more personal, but I decided to focus it on women's psychological trauma after a friend of mine was sexually harassed and blamed after. As a woman and an artist, I believe that I have a social responsibility to use my art as a platform and to be loud about the injustices that we always encounter. It is also personal as these encounters are what we always have to put up with as a woman since we are young. Women experience is a collective and we are always reminded by the subtle nuances of injustices of the system through these experiences.

CNTRFLD. Roots and Heritage:
How has your upbringing or cultural background influenced your journey as an artist? Are there childhood experiences or local traditions that continue to resonate in your work?

BA. Coming from a family of artists, creativity has always been there. This environment gave me a strong yet balanced influence—neutral in the sense that I was free to explore diverse styles and ideas, and powerful because art was a constant presence shaping my identity. It taught me that artistic expression is not just a skill but a shared language, one that connects generations and nurtures individuality.

MP. I was born in Negros, a land rich in culture and tradition vast sugarcane fields, haciendas, hacienderos and sakadas, landlords and the oppressed. I was raised Catholic, but my mother later converted to Islam, making religion a strong influence in my life. Living between Christianity and Islam taught me that peace is possible through mutual respect, even within one household. It is also a big factor for me as an artist, that I am influenced by the pillars of Negros art, Charlie Co and Nunelucio Alvarado, whose works center on socio-political narratives.

ZM. I discovered my interest in embroidery during the pandemic where I had a time to experiment different art practices and time to contemplate about my identity. I found my flow through threads as it reminded me of my medical sutures during my heart surgery in 2016. Threads became a personal symbol of life as I survived Tetralogy of Fallot, a rare heart defect with 4 different heart problems that can lower the percentage of life expectancy as I grow older. My childhood and my teenage years consisted of physical limitations hence I developed an interest in music and art, practices that I am able to do without requiring my body to move a lot.

CNTRFLD. Identity in Motion:
In what ways does your identity—whether personal, gendered, cultural, or otherwise—shape your artistic voice and the ideas you choose to explore?

BA. What shaped me into the artist I am today is deeply rooted in the environment where I grew up and the spaces where I continue to exist. Every sound, texture, and story from my surroundings became part of my creative vocabulary.

MP. I don’t believe in fixed identity. What matters is creating work and mastering the characteristics of one’s process. My practice is deeply personal and socio-political, using metaphor to confront and address global issues.

ZM. As above-mentioned, my practices are rooted to my past disabilities and reflected through my medium. It made it personal but as I grow, I wanted to be able to tackle the other aspect of my experiences from being a woman to my survival in this economy, experiences that people can also feel seen as I believe that art are reflections of its current society and my works are just vessels of my versions of truth, a platform for the unheard. Whether personal or social.

CNTRFLD. The Place You Call Home:
Where you live and work often shapes how you see the world. How has your environment influenced your creative process, and why is this place meaningful to you?

BA. The place I call home is Fabrica, Sagay City, and it is within this community that my artistic inspiration was born. The rhythms of daily life, the stories shared among neighbors, and the vivid landscapes surrounding us all became part of my creative foundation.

MP. As I mentioned earlier, I am very grateful to have been born and raised in the province on the island of Negros, in the city of Bacolod. Our rich culture has allowed us to stay rooted. Unlike Imperial Manila, which often feels overly trendy and overrated, our art is grounded in lived experience shaped by culture, tradition, and history. We are also fortunate to have senior artists who influenced us not to be afraid of presenting our roots and realities. Artists such as Nunelucio Alvarado and Charlie Co continue to be major influences on our catalysts and templates for carrying forward what they began.

ZM. I'm at the age where I struggle in economic survival and I'm juggling different freelance work to suffice my art. My small room with a table is my working place. I think in an interesting way my works focused on the disparity of struggles as it also reflected my financial situation as an artist as my medium is also a reflection of practicality as textiles are easier to ship and threads are not costly. However, since the exhibition is held in Bacolod, I manage to push myself for bigger works.

CNTRFLD. Choosing Materials and Mediums:
Your work spans different materials and approaches. How do you decide what medium best expresses your ideas, and did preparing for this show inspire you to experiment differently?

BA. When it comes to choosing materials, my process is guided by availability and resourcefulness. I believe that every object, no matter how ordinary, holds the potential to become art.

MP. In my process, I am not comfortable working with only one medium. I enjoy experimenting and understanding the character of the materials I use. The choice of material always depends on the idea and how it can best be expressed. Because of this, my practice moves across different forms installation, sculpture, drawing, painting, and performance art. I am open to exploring anything that can serve as material, as a symbol’s as long as it strengthens the concept of a particular idea.

ZM. My process on every show is to research through histories and symbolism to back up my concept, before I proceed to decide and to experiment on the medium. As my symbols are not just the subjects but the medium itself adds meaning to my works.

CNTRFLD. Engaging the Viewer:
When people encounter your work in this exhibition, what do you hope they feel, notice, or take away?

BA. I don’t create art to seek approval or validation; I create to inspire. My focus is on expressing ideas and emotions that resonate with life’s experiences, rather than worrying about how others perceive my work.

MP. I allow viewers to first dissect my work and share their interpretations before explaining my ideas. In this way, interaction is created through an exchange of perspectives. I learn from the viewer, just as the viewer learns from the artist.

ZM. I will always hope my art could disturb the comfortable and comfort the disturbed.

CNTRFLD. Current Adventures and Future Horizons:
Are there any projects, collaborations, or experiments—big or small—that you’re excited about right now? How do these connect to where your practice is headed next?

BA. We are currently preparing for the upcoming art festival in our community in Sagay City, where I am honored to serve as one of the organizers. Alongside this, our group is gearing up for an exciting group show this March at the Art District’s Orange Gallery. These events fill me with anticipation because they offer the opportunity to create large-scale pieces and collaborate with talented artists whose passion and creativity inspire me. It’s a chance to celebrate art, community, and the shared vision that brings us together.

MP. In March 2026, I will participate in a major group exhibition at Orange Project. And in May 2026, I was selected for an artist exchange residency in Gwangju, South Korea, a joint project by OVERLAB, LM Foundation, and Orange Project Bacolod. This program is the second phase of a collaborative research initiative that will be conducted in Gwangju. Following the residency, I will continue developing new bodies of work in preparation for future projects and exhibitions.

ZM. For now, I am currently looking forward to the International Artistic Research Training Program that I applied for. I'm excited to learn more on how to hone my craft and to effectively use my art for research-based purposes. I really wanted to use my craft for a greater good and challenge myself to create more work from the narratives of people.

CNTRFLD. Words for Emerging Artists:
Looking back, what advice would you give to someone beginning their own creative journey, especially when exploring personal or socially charged themes?

BA. Never stop Learning and don’t stop working.

MP. I have been mentoring young artists for some time now, and I am very proud of them. Many are already excelling in their respective fields. My advice to emerging artists is simple: don’t rush, be patient and focus on your process. Don’t be afraid to experiment. Don’t lose hope when your work is denied in an exhibition, it doesn’t mean there is something wrong with your work, only that you need to sharpen your vision and instincts. Enjoy being young. Don’t be afraid to create ideas that contribute to your community and society. Be honest, honesty is your strongest justification. Don’t be a sellout just because it’s comfortable. Don’t try to please collectors to the point of submission, that only leads to losing your freedom. Be free.

ZM. My only advice is to be authentic and trust in your own process. You will only be needing your authentic narrative to be an artist.

CNTRFLD. Your Artistic Journey in Reflection:
Thinking about your path so far, are there moments, challenges, or lessons that have been especially formative in shaping how you approach art today?

BA. I see myself as a lifelong student of art, constantly learning and evolving. Every experience, every interaction, and every observation becomes an opportunity to grow creatively. I make it a point to remain open-minded to the changes and happenings around me, because art thrives on awareness and adaptability.

MP. My biggest challenge is losing momentum when ideas loosen, run dry, or when burnout sets in from continuous production. The art market is also changing, it has become more conventional, and it is difficult for me to conform to its demands. Still, I manage to find alternative sources of income, so I don’t have to compromise my artistic process! Hehe he.

ZM. I stopped college during the pandemic because of a financial situation. I thought being an artist just requires talent, but what is talent if it's empty and without its narrative. What I learned in my art practice is to study, to join workshops, and grants because being an artist is being a student and an observer. The art we do will always be a part of sociology.

About the artists.

Burog Alvarado
Burog Alvarado (b. 1974) is a prominent Negrense visual artist from Sagay, Philippines. Known for his distinctive contemporary works, he has continuously engaged in the art community through various projects such as heading the Nature Encounter XII: Duta, Tubig, Hangin in Sagay (2025) and participating as a judge in Sagay City’s Visual Arts Competition (2022). His works traverse his personal identity along with being socially conscious. Burog has exhibited his works at regional and nationwide locations such as The Negros Museum with his first solo Nawung (2011), Oroquieta (2010), Hangkilan (2022), Kadugo (2023), From Time Immemorial (2025) and recently Paranoia and Wilderness (2025). Alvarado is also a founding member of Pintor Kulapol, a Sagay-based artist collective.

Mikiboy Pama
Born in 1984, Mikiboy Pama graduated from La Consolacion College Bacolod with a Bachelor of Fine Arts, major in Painting. He has participated in numerous local and national exhibitions, continuously expanding his presence in the contemporary art scene. Beyond his studio practice, he actively engages in community projects that aim to introduce and cultivate contemporary art within local neighbourhoods. His practice explores experimentation across various mediums—painting, sculpture, performance, and installation—often addressing sociopolitical issues as well as personal and global events. Mikiboy’s works frequently combine a diverse range of materials such as pen, aerosol, collage, image transfer, and found objects, including collected artifacts. These elements are juxtaposed within a single composition, serving both as documentation and preservation. As an artist, Mikiboy’s intention is to raise social awareness. Rather than proposing direct solutions, he seeks to present the realities occurring on the ground—drawn from his observations and lived experiences—and invite viewers to reflect on them.

Zabiel Nemenzo
Zabiel Nemenzo (B. 1999) is an emerging artist born in Bacolod City, Negros Occidental. She graduated Senior Highschool with a major in the Arts & Design Track. During the pandemic, which became her turning point, she fully embraced her calling in art by collaborating with filmmakers and artists under ViVa Excon 2020-2021. She recently had her first art residency at Linangan Art Residency in Cavite, Philippines for two months from January 10, 2025 - March 10, 2025, under the Batch Pulô. Her work fuses acrylics, pen and ink, charcoal, and watercolour. However, during quarantine, she developed an interest in embroidery. The process of stitching reminded Zabiel of medical sutures and thread which for her holds a significant meaning of life because of her heart surgery. Zabiel's art delves into the nuances of heritage, the weight of inequality, and the intimacy of personal struggles, with each piece serving as a catalyst for dialogue and transformative reflection.

With thanks to Candy Nagrampa and Orange Project for facilitating this conversation.

Images courtesy of Orange Project

MIKIBOY PAMA