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ronyel compra

@ronyelcompra

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Last day of the show (UK time) @stanleypicker Kingston University London

🏝⛈️🥥 Curated by Stanley Picker Fellow Ligaya Salazar ‘A World of Islands - On Palms, Storms & Coconuts’ considers the movement of indigenous knowledge, practices, materials and people, and historical and current fabrications of tropical utopia and dystopia.

Ronyel Compra's 'Imprint of Lola Masyang's House (East Window)' explores complex notions of identity, memory, selfhood and alterity, alongside an act of remembering and memorialising. Stretching raffia fabric over the facade of his grandparents house, Compra smudges soil on the grooves, raised surfaces and textures to create a type of relief print that captures the scale and details of the house. He also imprints the tools of construction using the same soil on the same raffia fabric, situating the work along a continuum of theory and practice.

Ronyel Compra is a visual artist who integrates the techniques used in local crafts production and trades into his practice as reflections of memories, history, and experiences of place and home.

‘A World of Islands’ features work by Stephanie Comilang, Ronyel Compra, Carol Anne McChrystal, Ceramica Suro, Derek Tumala and Alex Quicho.

Exhibition Open: 11 May - 15 July 2023 / Tues-Sat 11-5pm

Images: Ronyel Compra, courtesy the artist.
‘A World of Islands’ Stanley Picker Gallery, installation view. Photography Ellie Laycock.

#aworldofislands
#ligayasalazar
#archipelago
#tropical
#philippines
#mexico
#stanleypickerfellowships
#stanleypickergallery
#kingstonschoolofart
#KingstonUniversity by @ronyelcompra

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3 years ago

Markers, territories

Basketball Shed taken in Bogo, Cebu by @ronyelcompra

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7 years ago

Excited to announce my artist residency and research this coming January 2025 for Gasworks in London.

@gasworkslondon 🇵🇭Introducing Ronyel Compra (@ronyelcompra) from the Philippines🇵🇭who will be undertaking a residency at Gasworks from 6 January to 24 March 2025!

Ronyel Compra explores how the interactions between people and their environments are shaped. He uses indigenous materials to investigate local stories, ecosystems, community dynamics and memory to reveal broader relations to historical and sociopolitical contexts.

At Gasworks, Ronyel will research different kinds of urban infrastructure and communal meetings spaces in London. Interested in how these spaces reflect and shape societal dynamics, he will compare their evolution to that of communal spaces in the US and the Philippines. He will visit historical sites through museums and libraries, and physical sites including waiting rooms, makeshift basketball courts and parks.

Ronyel Compra’s residency is supported by Mercedes Zobel (@zobelmercedes).

We look forward to welcoming Ronyel in January!

Find out more about their practice through the link in our bio.

Posted @withregram by @ronyelcompra

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2 years ago

Day 7 in Cebu - 5/28/26

I had a rough morning and met @ralphguibs at his store, @dnatoysph, to try on his custom designed pants. He got me a Spanish drink that was good @lunagazette. I didn’t get his pants, but I got a well crafted toy from him 🫰🏾

@dearreadercebu, I got a Spanish Chorizo Taco that was good too (I find it funny how I had this and the drink earlier even though I’m one of Spain’s biggest haters 🤣)

I galavanted more of @atuamidtowncebu and walked into a Filipino streetwear store. I met @t.ryaan2000, and we talked about the comparisons between American, East Asian, and Filipino styles 🔥

I hung out with Ralph for the rest of the afternoon, and we reflected about the socioeconomic political affairs of Cebu and Philippines at-large 👊🏾

His friend, @macosico, pulled up and invited me to be an extra for a film that him and his team are shooting tomorrow morning at 5:00am. I said yes, because why not?!

Later in the night, Ralph invited me to an amazing artist showcase @cebumakingspace. @jansunday_pq, @ronyelcompra, and @mono.chaotic (I didn’t get the Instagram accounts of the other artists 😞) talked about their beautiful artwork and what it means to them and to the themes of changes that occur when one leaves their hometown and lives somewhere else. @jansunday_pq ‘s art piece speaks to me the most and shoutout to her for all the creative incredible work that she’s been doing. I commend @ralphguibs and @mono.chaotic for facilitating a fruitful informal discussion. Thank you, Ralph, for letting me tag along with you for the day. I loved meeting your friends and colleagues in the some of the spaces that you are part of. I’m proud of you!

I met Lauren at Chowking for a late dinner. We debriefed on our days 🫶🏾 by @ronyelcompra

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a month ago

Tools as plot as an island, like vessels.

Luta /lakra
Hinaginan hiraminta
Acrylic and textile paint on acrylic impregnated textile
30x40 inches
2026

Inquire at @125projects by @ronyelcompra

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a month ago

by @ronyelcompra

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2 months ago

Come sit with the discomfort for a while.
No podiums. No performances. Just artists, conversations, and the strange beautiful things we carry quietly.

See you at The Tea + Gallery. 🫶🏻

#contemporary #art #cebu #tea #artistsofinstagram taken in The Tea + Gallery by @ronyelcompra

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2 months ago

We are thrilled to present 'Far Away Tilt', Ronyel Compra's first solo exhibition with 125 PROJECTS, on view from 14 May to 4 July 2026.

Curator Ligaya Salazar writes, "Far-away tilt presents a new body of work by artist Ronyel Compra, where paper becomes both surface and subject. Using handmade, collaged paper made from manila, Japanese washi, salvaged fragments, and termite soil, he works directly into the painted surface. Scratching, cutting, rubbing, and pressing repeatedly until it begins to weaken.

Paper, typically associated with archiving and preservation, is here pushed toward near-breakdown. Surfaces hold and give way at once, accumulating marks as their structure weakens. The pieces become an unstable archive, memory neither fixed nor secured but contingent and in flux. Each work occupies a threshold between retention and collapse, where fragility and resistance coexist."

The exhibition opens with an artist-led walkthrough at 5PM. 125 PROJECTS is located at NBS Park, 125 Pioneer Street, Mandaluyong City.

#125PROJECTS taken in NBS Park by @ronyelcompra

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3 months ago

THE EXPERIENCE🍴

PAGTILAW is my brainchild finally finding its body.

For a long time, I’ve been thinking about food not just as sustenance, but as archive. As ritual. As something that holds memory in its heat.

In this project, I wanted to bring two fires into the same room —
the fire that transforms material in the studio,
and the fire that nourishes in the kitchen.

Working with Ronyel Compra, whose practice engages ash, husks, soil, and charred wood, I kept asking:
What would it mean to taste material memory?
Not to literalize it — but to respond to it sensorially.

And with Chef Karen Abello of Abli, that question slowly became a menu; translated into textures, gestures, and ingredients.

It was meant to be intimate. Slow. Site-sensitive.

Pagtilaw — to taste, to try — is my way of curating beyond the white cube. Of trusting that a restaurant can hold space for art, and that a dish can carry conceptual weight.

To everyone who believed in this idea when it was still just a blob in my notebook — thank you. To the team at Abli, to Ronyel, to our collaborators and early supporters — your trust allowed this to take form.

This is only the beginning.

If you find yourself at Abli in the coming weeks, I hope you don’t just look. I hope you taste (the dishes of our hardwork.) 🥥 taken in Abli Cebu by @ronyelcompra

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5 months ago

#RonyelCompra: 𝙋𝙡𝙖𝙮𝙞𝙣𝙜 𝙞𝙣 𝙍𝙚𝙫𝙚𝙧𝙨𝙚, 2025

Compra (@ronyelcompra) integrates the techniques used in local crafts production and trades into his practice as reflections of memories, history, and lived experiences of place and home.

His new work “Playing in Reverse” is made from branches of trees ravaged or felled by storms Tino and Uwan that hit his hometown of Bogo, Cebu, which also suffered a magnitude 6.9 earthquake right before the two storms.

An endemic Philippine hardwood, Molave branches, usually small to medium in size, are often pruned and repurposed. Traditionally they are used for charcoal production and as practical tools of maritime life. These practices, deeply rooted in small-scale coastal fishing communities, can be traced back to pre-Hispanic periods across the Visayas and southern Tagalog regions.

Sculpted, straightened and shaped into what resembles surging floodwaters, they are a physical reminder of the precarity of rural island life during the intensifying effects of the climate crisis.

See his work at 𝐀 𝐖𝐨𝐫𝐥𝐝 𝐨𝐟 𝐈𝐬𝐥𝐚𝐧𝐝𝐬: 𝐎𝐧 𝐏𝐚𝐥𝐦𝐬, 𝐒𝐭𝐨𝐫𝐦𝐬 & 𝐂𝐨𝐜𝐨𝐧𝐮𝐭𝐬, on view at the third floor galleries of the #AteneoArtGallery until 24 May 2026.

𝙇𝙚𝙖𝙧𝙣 𝙢𝙤𝙧𝙚 𝙖𝙗𝙤𝙪𝙩 𝙩𝙝𝙚 𝙚𝙭𝙝𝙞𝙗𝙞𝙩𝙞𝙤𝙣 𝙖𝙩 go.ateneo.net/AboutAWOI

#AWorldOfIslands is curated by Ligaya Salazar (@ligayasalazar) and was developed as part of the Stanley Picker Fellowship and commissioned by Stanley Picker Gallery, Kingston University London (@stanleypicker).

📷 Reeltime Photography

For inquiries, email aag@ateneo.edu or call (2) 8426 6488.

#AAG_AWorldOfIslands by @ronyelcompra

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5 months ago

Here’s how Ronyel Compra describes his art. #EsquireBestVisualArtists2026 #EsquirePHVideo #EsquirePHCover #EsquireChats by @ronyelcompra

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5 months ago

Ronyel Compra on the specific moment he decided to be an artist. #EsquireBestVisualArtists2026 #EsquirePHVideo #EsquirePHCover #EsquireChats by @ronyelcompra

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5 months ago