What They Left Us
At the Alchemy of Art
July 3, 2025 - August 2, 2025


Anna Diviniagracia, Lola's House on Sunday, 2025, archival print

Dhaynne Torres, Atsu Ya Dati Keni E. Lolo (Grandpa Used To Be Here), 2021,
Co-curated by Anna Divinagracia and me, What They Left Us ties together eight Filipino-American artists who use personal, familial, and cultural photographs to trace connections to their families and their countries: the Philippines and America. The featured work considers how art becomes a means of holding onto and reshaping what has been passed down, allowing us to honor and examine what we’ve inherited and hope to preserve.
This exhibition questions what our families and other Filipinos left for us to become in America. Whether that be leaving behind the life and home they knew, letters and photographs, or the actual labor and sacrifices they made, our focus was on bringing those sacrifices to light. As first and second generation Filipinos, we recognized how easy it is to forget that and the weight that we carry because of our families' sacrifices. We highlight the importance of a physical archive as Filipino artists, and how the work that we make actively contributes to that physical archive… for our families and for the Philippines.
What They Left Us features work by Thea Canlas, Miguel Caba, Ashley Dequilla, Ryan Frigillana, Dhaynne Torres, Kat Navarro, along with Divina and me.
This show wouldn’t be possible without the support of our sponsors. Maryland State Arts Council, Towson University Asian Arts and Culture Center, and Off the Rox Wine & Beer. Without their support, this exhibition would be nothing more than a dream.

From left to right: Ciarra K. Walters, Ryan Frigillana, and the last three are by Ashley Dequilla

Ciarra K. Walters, A Rememberance, 2025, oak wood, thread, phototransfer on capiz shells,

Miguel Caba, Mother's Garden, 2024, acrylic on wood

Installation shot, Left to Right: Miguel Cabba, Anna Divinagracia, (last three) Dhaynne Torres

Left: Dhaynne Torres, Early Summer at the Pier, 2024, oil on canvas
Right: Dhaynne Torres, Atsu Ya Dati Keni E. Lolo (Grandpa Used To Be Here), 2021, (bottom) oil on canvas,
(top) photo of Torres grandfather on wood

Left to Right: Thea Canlas, Anna Divinagracia, Ciarra K. Walters
Center: Thea Canlas

Ashley Dequilla's work from left to right: Reynoldburg (1936), 2024, Grant Park (1939), and Revelos (1951), all are photo transfers on birch panel

Kat Navorro, Watch the Hands the Sews, 2020, textile, photo, site specific sound, rotoscope, animation, projection mapping

Thea Canlas, Multo (Apparitions) Installation #2, 2025, cement blocks and hair

Ryan Frigillana, Pamana, collaged archival pigment print

Ryan Frigillana, The House They Built, 2022, archival pigment print

Anna Divinagracia, The Grass is Always Greener on the Other Side, 2025, archival print, wood, barbed wire, acrylic

Thea Canlas, Multo (Apparitions) Installation #2, 2025, printed acrylic sheets in lightboxes

Ciarra K. Walters, A Thread of Daughters, 2023, raw canvas, archival prints on canvas

Installation Shot, Left to Right: Thea Canlas, and Anna Diviniagracia