After more than a decade navigating global commercial platforms and personal creative thresholds, Filipino multidisciplinary artist Daryl Feril returns to where it began. Wayfarer, now on view at Orange Project in Bacolod, Philippines, marks his first solo exhibition in ten years—and a profound pause to look back, gather, and move forward with intention.

The title Wayfarer evokes slow, deliberate travel: a way of moving shaped not by urgency, but by reflection. For Feril, whose childhood was marked by constant relocation, this sense of movement is deeply personal. Born in Bacolod but raised across multiple cities, his early life was defined by impermanence—by departures, reinventions, and the quiet work of adaptation. These formative experiences would later become the emotional and conceptual undercurrent of his practice, informing both his commercial illustration career and his evolving body of fine art.

Across the exhibition, Feril traces the arc of his artistic journey—from early graphite works and digitally driven illustration to large-scale acrylic paintings that embrace colour, vulnerability, and emotional weight. Once intent on separating his commercial output from his visual art practice, Wayfarer signals a turning point: a reconciliation of disciplines long kept apart. The exhibition reflects not only technical and aesthetic growth, but also an artist coming to terms with the totality of his experiences—migration, guardedness, belonging, and return.
At the same time, Wayfarer is a homecoming. It marks Feril’s return to Bacolod as both subject and site, and to Orange Project as a space that has long supported artistic exploration in Negros. In revisiting childhood memories—often drawn from family photographs—and recurring symbols of movement and shelter, Feril positions Bacolod not as a limitation, but as a grounding force: a place from which global conversations, collaborations, and creative communities can still meaningfully unfold.

In this CNTRFLD.ART conversation, we speak with Daryl Feril about growing up between places, shaping an identity across cultures, choosing to base his practice in Bacolod, and navigating the porous boundary between commercial and personal work. Through Wayfarer, Feril reflects on patience, persistence, and the courage to let different parts of oneself coexist—offering a quietly resonant meditation on what it means to keep moving, while finally allowing oneself to arrive.

Wayfarer is on view at Orange Project, Bacolod, until 7 January 2026.

CNTRFLD. You grew up in Bacolod but spent much of your youth moving between different cities. How did this constant shift between places and cultures shape your early sense of self and creativity? Are there moments or experiences that still resonate with you today—moments that were particularly inspiring, challenging, or formative?

DF. I was born in Bacolod, but I didn’t spend most of my childhood there. I only moved back when I was 19. Growing up, building connections was one of the most challenging things for me. Constant movement made me guarded and limited what I felt comfortable expressing or sharing. The first days in every new school were always dreadful. I was usually the odd one out, still trying to find a sense of connection. Over time, I developed a fear of departure and abandonment, and there were moments when I felt like I didn’t truly belong anywhere, even when people tried to make me feel included. That sense of detachment still lingers in some ways.
As I got older, though, those experiences became an advantage. Moving between places allowed me to learn different languages and adapt more easily to new environments and people. It has deeply influenced my practice, as much of my work draws from the memories and experiences of the places I’ve lived in. How I present my work both commercial and visual art is a reflection of the migrant upbringing.

CNTRFLD. How have these experiences across diverse places shaped your perspective on identity, both personally and as a Filipino artist working on a global stage? Do you feel your identity has become more fluid, or rooted in specific cultural threads from your upbringing?

DF. I’ve learned over time that society has its own way of dictating what’s acceptable, unwritten rules that define what actions are considered appropriate within a community, which limits your potential and sense of what’s possible. Ideas kept confined within limits are like a plant whose pot can no longer hold its growth, it pushes outward, finding its own way beyond what contains it.
I now find challenge in uncertainty. It fuels my creativity when I’m navigating unfamiliar terrain. For me, style goes beyond aesthetics, it’s about how ideas are consistently presented and communicated. Even in my commercial work, I value the diversity of my collaborations. Although they span different industries, they still feel cohesive. That’s what I aim for my body of work, different backgrounds and forms, but with a shared core

CNTRFLD. Having lived and worked in various contexts, how would you compare the creative networks and support systems you’ve encountered? Were there moments where support—or its absence—shaped the way you approached a project, or how you collaborated with other creatives?

DF. Finding the right community was a struggle for me both in school and early in my career. In my earlier years, there were often two artists in class or sometimes I was the only one, so it was difficult to find people who truly understood me. It wasn’t until my Fine Arts years in college that I finally felt like I was in the right place, surrounded by people who shared the same passion and creative language.
I faced a similar challenge after college when many of my friends left Bacolod to find work elsewhere and I was the only one who really pursue a creative path. With little design community at the time, I learned to rely on myself creating opportunities, building connections online, and working on personal projects that would help me get clients. When I started joining exhibitions in 2014 I my community again and this time I want to nurture it, create a space for young and emerging creatives knowing how important it is to have that support early on.

CNTRFLD. Despite your international career, you’ve chosen to base yourself in Bacolod. What draws you back to the city, and how does this environment influence your creative process, daily life, or sense of grounding? Are there aspects of life here that particularly inspire your work?

DF. There were times when I considered moving elsewhere because opportunities here felt limited. But something always pulled me back. I held onto the hope that more creative opportunities would eventually grow in the city and slowly, they did. I also wanted to be known as a creative based in Bacolod, to show young creatives that meaningful and even global opportunities are still possible while staying here.
Bacolod also offers a quality of life that supports my practice. The traffic is far more manageable than in bigger cities, the cost of living is lower, and with today’s technology, it’s easier to connect with people around the world without having to relocate. I can work with international clients, hold meetings online, and still focus on exhibitions. Being so close to nature is another advantage as it’s always accessible whenever I need to step away from the studio and reset.

CNTRFLD. Looking back at your childhood, are there specific memories, stories, or cultural traditions that continue to inspire your practice? How do these experiences surface in your illustrations, paintings, or designs—through colour, pattern, or recurring motifs?

DF. There’s a recurring pattern in my work where the main subject is often concealed or surrounded by layers of elements, almost like a blanket. I think this reflects my experiences growing up being protective of myself and building a kind of armor over time, something that unconsciously finds its way into my work. While doing studies for my exhibition, I had the chance to look back at my early works from school and noticed that even then, I was already drawn to blues. I think it may have been tied to a recurring emotional state from my childhood that continues to surface in my practice.

CNTRFLD. You’ve balanced high-profile commercial projects with your personal fine art practice. How do you navigate the tension—or synergy—between these worlds? Are there moments when commercial work has informed your personal projects, or vice versa?

DF. When I had my first solo exhibition in 2014, I consciously tried to separate my commercial work from my gallery practice. At the time, I wanted to be taken seriously as a visual artist, and I carried this notion that coming from illustration, design, or digital fields might not be taken seriously within a fine art space. I also felt that my work was too commercial for a gallery context. Because of that, I created a clear boundary between the two practices, hoping to define them as entirely separate.
Over time, though, maintaining that division became exhausting. As my practice evolved, I began to realize that these two worlds didn’t have to compete, they could coexist and even strengthen each other. I started to see how the discipline, clarity, and adaptability I developed through commercial work informed my personal projects, while my fine art practice gave more depth and intention to the commercial work. Embracing that overlap allowed me to work more honestly and fluidly, without forcing myself into rigid categories.

CNTRFLD. Fashion and luxury brands often appear in your work. How has your interest in fashion shaped your visual language, and what draws you to integrate these references? Do these references function more as narrative, symbolic, or purely aesthetic elements in your compositions?

DF. It began when I did this personal project Brands in Full Bloom where I adorned luxury brand logos with floral motifs that fit to their personality. It gained a lot of traction and led me to my first luxury client, one of LVMH’s subsidiaries luxury retailer DFS Group. I created the illustrations of their Spring/Summer 2013 campaign which was rolled out across 14 major international airports. For a time, this work shaped the kinds of projects that followed, and I found myself doing mostly fashion-related collaborations.
It felt a bit limiting overtime, so I explored how my style could translate across different industries such as beauty, spirits, music, and food and beverage. Even in client work, I try to inject elements of my own culture, whether through color choices or composition. That said, commercial projects are always collaborative, the final vision isn’t solely mine, but something shaped together with the brand.

CNTRFLD. Alongside international collaborations, you continue to work with local Bacolod brands. What do these projects offer creatively, and how do they connect you to your community? Are there particular projects that stand out for their intimacy or impact?

DF. While I was doing mostly commercial work, I didn’t have many local collaborations. Most of my projects were international, but part of me always hoped to work more with people and brands locally. It was Fresh Start Organics & Farm, a Negros Island–based brand focused on sustainable, certified organic agriculture, who became my first local client in 2017. I did a large-scale illustration that still hangs at their restaurant, Lanai, to this day. From there, I began working with more local brands like Café Bob’s Flagship and Coffee Culture. There’s a deep sense of fulfillment in working with something homegrown and seeing my work exist here. It keeps me grounded and connected to home.

CNTRFLD. Wayfarer marks your first solo exhibition in ten years. What motivated your return with this show, and how did your thinking about colour, scale, or medium evolve during your time away from solo exhibitions? Were there experiments or personal projects that directly led to this series?

DF. After my last solo show in 2015, I lost some motivation and decided to focus more on my design career, though I continued to participate in group exhibitions. I told myself that if I were to have another solo show, it had to be something I truly felt confident presenting. In early 2024, I began doing studies with the possibility of a solo exhibition in mind, already preparing myself mentally for that. So, when Orange Project asked later that year if I would be open to doing the final show of 2025, I said yes, and promised myself to fully commit. I made a conscious decision to consistently join gallery exhibitions leading up to the solo show, which helped me build momentum and regain confidence in my practice.
The exhibition also became a celebration of my first ten years as a creative. It’s been a challenging path, and I’m deeply grateful that I’m still here, still making work. Through this show, I wanted to reflect on what I’ve learned over those ten years, particularly how I’ve finally found a middle ground where my different creative disciplines can exist in the same space, something I’ve struggled with for a long time.

CNTRFLD. The exhibition explores travel, displacement, and belonging. How did revisiting your childhood and migratory experiences inform the works on display? Are there recurring visual motifs or symbols that reflect these experiences, and do you see the exhibition as a personal reconciliation, a universal story, or both?

DF. My father used to do film photography, so my childhood was well documented. Those images became the starting point for Wayfarer. I wanted the exhibition to feel like a reintroduction to my work, which meant it had to be deeply rooted in where I came from. It became a way of bringing to the surface how my experiences growing up shaped my creative practice, and how these early memories continue to influence my work. Symbols of boats, birdhouses and roosters are majority present in my latest works that I often associate with movement, belongingness and masculinity.
Growing up, I rarely encountered people who shared similar experiences, and this exhibition became a way to open a dialogue about how parts of our past quietly carry into different areas of our lives often without us realizing it. Creating Wayfarer helped me understand myself more clearly and come to terms with how recurring images from my childhood have shaped my work. I hope it also offers comfort and recognition to those who feel like they’re constantly navigating different worlds and searching for connection.

CNTRFLD. Looking forward, what advice would you give to young artists navigating multiple cultures or balancing commercial and personal practice? Are there upcoming projects, directions, or collaborations that you’re particularly excited to explore next?

DF. Patience is one of the most important lessons I’ve held onto throughout my career. In an industry where new talent is constantly emerging, longevity can be difficult to sustain. I believe it’s important to keep reinventing yourself while staying rooted in your core. Don’t be afraid to let your work move beyond your usual medium and always value the relationships you build along the way, these are the same people who will support you when you need it.
At the moment, I’m managing a creative space with my friend and fellow creative, Faye Abantao, through Werever Projects, Art & Design Store. It’s a platform that gives local artists a space to showcase their merchandise and help them explore different approaches for their work. I’m also aim to take on more art residencies, as these spaces allow me to explore new ways to present my ideas. Alongside this, I’ll continue my commercial work, which allows me to sustain and fund my personal projects.
Throughout this journey of making Wayfarer, I’ve learned that patience isn’t just about waiting, it’s about trusting the pace of your growth, and allowing your work to unfold in its own time.

About the artist.

Daryl Feril is a multi-disciplinary artist from Bacolod City, Negros Island, Philippines. He attended La Consolacion College Bacolod with a degree in Bachelor of Fine Arts major in Advertising Arts. His practice spans illustration, design, and visual art, disciplines he seamlessly weaves together to form a cohesive creative process.
His illustration career began when a New York–based creative agency discovered his work, leading to his first international project for DFS Group’s Spring/Summer 2013 global campaign. Since then, he has collaborated with numerous brands across diverse industries, including Adidas, The Balvenie, The David Lynch Foundation, DFS Group, Don Papa Rum, Heineken, Hilton Hotels, Johnnie Walker, Jo Malone London, Singapore Airlines, Tiger Beer, Tory Burch, and The Walt Disney Company. Feril’s work has been recognized locally and internationally—he has received three Adobo Design Asia Awards and has been featured in Preview Magazine’s Creative It List and Asian Creatives: 150 Most Promising Talents in Art, Design, Illustration & Photography in 2014.
The themes present in his work are profoundly rooted in his unique migrant upbringing, which has been shaped significantly by a constant shift between diverse places and cultures. This early and continuous exposure to a wide range of environments is thoughtfully reflected in his art layered with elements drawn from nature and nostalgia capturing fleeting, everyday moments both personal and universal experiences, which are often veiled in vibrant hues that invoke strong emotions. For more than a decade, Feril has built a diverse portfolio as an illustrator, collaborating with both local and international brands. More than a practice, painting is an indispensable necessity for the artist. It’s his primary means of breaking the pictorial and conceptual tether. This process allows him to move beyond mere depiction, allowing relentless exploration toward a more complex, unburdened self-expression.

With thanks to Candy Nagrampa and the Orange Project team for facilitating this story.