Selected curatorial work:
(update in progress)

Co-curator, Vital 5 Productions.

Out of Sight is an annual exhibition of contemporary art in the Pacific Northwest located on the third floor of the historic King Street Station in Seattle, Washington. Running concurrent to the Seattle Art Fair, it populates over 21,000 square feet with visual and multi-media art, performances, and installations.
View photos from Out of Sight 2016.

Curated as an Exhibit Specialist at Wing Luke Museum. The Wing has a specific community advisory committee model for its exhibitions.

The Immigration Act of 1965 lifted country-of-origin quotas and for the first time, created legal immigration pathways for those with family in the U.S. and those whose labor was deemed skilled. The prior country-of-origin quotas had not prioritized family re-unification, and policy makers underestimated the large effect this change would stir. When the 1965 Act was instated, what resulted was a process of "chain migration” - an influx of immigrants was greater than anyone could have anticipated. Over the next few decades, the demographic and cultural make-up of America would be indelibly transformed.

Post-1965 Asian immigration saw the increase of those fleeing war and colonialism, from countries such as China, Taiwan, Hong Kong, India, Pakistan, South Korea, and the Philippines. Refugees from Laos, Cambodia, and Vietnam also entered the U.S. in large numbers as war destabilized much of Southeast Asia. In the first five years after the bill's passage, immigration from Southeast Asia (in particular, Vietnam and Cambodia) would more than quadruple.

The exhibition featured character profiles, spotlights on local grassroots organizing around immigration issues, a piece of fencing from the former INS building (now Inscape Arts), and original artwork by Jess X Chen and Carina del Rosario. Graphic design by Janelle Quibuyen and research and writing support by Nina Ichikawa.

The public programs included a walking history tour of the Chinatown-International District, an immersive audio tour of INScape Arts, a panel discussion on the influence of the '65 Immigration Act, and a digital exhibition of words and art that launched in tandem with the exhibition based at Wing Luke Museum. Website design by Janelle Quibuyen.

Curated as an Exhibit Specialist at Wing Luke Museum. The Wing has a specific community advisory committee model for its exhibitions.

As early as the fifteenth century, European voyagers set off on expeditions in search of land, trade routes,and natural resources--a conquest intended to expand their national empires. When they arrived on the islands, they saw that people already lived there, and had their own cultural traditions, such as adorning their bodies with permanent markings. Indigenous people resisted the colonization in a variety of ways, such as forming alternate markets for trade and organizing rebellions.

There were many attempts to abolish the practice of tattoo across the islands. In nineteenth-century Samoa, London Missionary Society were adamant about banning tattooing as it went against their interpretations of the Bible. They succeeded in abolishing tattooing in parts of Samoa, such as Tutuila Island. Even so, Samoans persisted in seeking practitioners and places to receive tattoos. In parts of the Philippines, tattoo practices have survived because some indigenous groups moved to remote mountainous regions that are difficult for outsiders to penetrate.

The ancient tradition of tattoo continues to be practiced to this day throughout the Pacific Islands and the Philippines, a living reminder of the history and ancestral connections across the islands. Hear the unique perspectives from Tatak ng Aat Alon (Mark of the Four Waves) Tribe, a nationwide indigenous Filipino group, and see rare artifacts such as tattoo instruments from Fiji and Belau. Graphic design by Nicole Ramirez and research and writing support by Julz Ignacio.