Aze ong biography of martin

aze ong biography of martin

Aze Ong: Crocheting and life - RAPPLER

  • Aze Ong (@azeongliwanag) and and Ged Merino's ( Story by Martin Agustin (@marts.agustin) Cover design by Angela Chen (@angela.

    • Fiber Crochet Installation Contemporary Performance Artist

      Aze Ong is a Filipino Contemporary Artist working with fiber.
    vargas museum history An encounter with Aze Ong through the Drawing Room Contemporary, a gallery that represented Ged, gave way to a collaboration now known as.
    up vargas museum entrance fee It featured artwork from 13 artists all over the world, including Ong’s.
    vargas museum curator Aze Ong was a volunteer teacher assigned to the mountains of Bukidnon where she was inspired by the culture of the Talaandig tribe.

    Liwanag sa Kawalan ng Kulay — Yuchengco Museum

      Her installation, “Gender Metamorphosis: Aze Ong, The Philippines,” was made up of more than 50 intricate and colorful crochet pieces hung from the ceiling of KICC’s central walkway leading to the conference rooms.

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  • To say that art has been a journey for Aze Ong is an understatement.
    • Aze Ong weaves a tale of pain & transcendence - Philstar Life

    AZE ONG: DIVINE SURRENDER - Modeka Art

  • Meet Filipino contemporary artist, Aze Ong. Tell us a little bit about yourself.

    • Visual artist tells women’s stories in crochet

  • Born in Agusan del Norte, he received his fine arts education from the University of the Philippines Diliman and had National Artist Napoleon Abueva as mentor.

    • Aze Ong - Girlsclub Asia, carousel

      Aze Ong—throughout the course of her practice focused on fiber as a medium (crocheting, sewing, knitting, knotting, weaving art pieces)—developed chronic pain in her hands, wrist, and arm due to repetitive motion and pushing her body to the limit.

    Aze Ong - Mugna Gallery

      I am Aze Ong, a contemporary artist working with fiber.

    To say that art has been a journey for Aze Ong is an understatement.

    From seeds of inspiration with her family, where as a child she helped out in their textile business to epiphanies from exposure to indigenous communities, when she became a volunteer teacher to the Talaandig tribe; from the challenges of recognition as an artist with a marginalized medium, to the challenges of an international art practice, Ong is always at the beginning.

    In her preferred medium of fiber, the most important step is the beginning. A loop, a hook, a knot – any object that she completes reacts to that first step. Imagine a journey through a tunnel: and whatever path you take, you are guided by that light at the end – Liwanag. It might sound paradoxical, but in order to begin at the end, it is that liwanag that guides all throughout.

    All organisms thrive on light, whether or not they use it for themselves. In a way, light is inherently organic, as Ong’s objects mostly are -- a tem