‘A Cathedral of Shadows’ by Artu Nepomuceno: Interviews with the Subjects
‘A Cathedral of Shadows’ through the perspective of the subjects
Filipino image-maker Artu Nepomuceno’s debut art presentation, ‘A Cathedral of Shadows’, invites viewers to follow his artistic journey through a series of evocative photographs. The showcase is presented by Art Agenda and Fashion & Market as a part of Art Fair Philippines 2024 from 16 to 18 February at The Link at the Ayala Centre in Manila.
The body of work, comprising nine black and white portraits, is a collaboration between Artu and his wife Meg Manzano as co-artists. It celebrates the pair’s eleven-year-long pursuit in the Filipino creative industry as a photographer-and-stylist duo. The photographs capture close friends and frequent industry collaborators of Artu and Meg, who have played significant roles in their personal and professional lives.
We interviewed eight of the subjects of the artwork to learn more about their involvement in the project, the behind-the-scenes process of the photoshoot, and the resultant photographs from their perspective.
Artu Nepomuceno, Meg I, 2024. Image courtesy of the artist.
Meg Manzano
Meg Manzano is a Manila-based creative director and stylist who is the co-artist of ‘A Cathedral of Shadows’. In addition to her roles, she is the Director of Communications and Partnerships at Waves for Water Philippines, a non-profit organisation that implements clean water solutions with remote communities.
When did Artu ask you to be a part of this project, and why did you say yes?
Back when I was working in the publishing industry, I collaborated with Artu for many photoshoots. Eventually, we would cement ourselves as a team who would shoot editorials, covers, campaigns, and portraits together.
We had been wanting to mount a series of portraits of people we have admired and also who have meant something to us. When the opportunity to showcase our work came along, we thought that it was the right time to execute the concept and capture how these individuals interpreted the idea.
What did you do to prepare for the shoot? Could you tell us about the day of the shoot itself? What did you do with the cloth?
I prepared the white cloth that the individuals would work with for the photoshoot session. I was in charge of helping the models find their way with the cloth and building that narrative with them. For example, when I see that they’re pulling towards a certain side, I try to counter that weight to add tension to the cloth. When I see that there’s a need for the fabric to flow, I would then have to gather the cloth and let it artfully fall where we need it.
When you first saw the final photographs, what did you think of them?
The entirety of the showcase felt like honest moments between the subject and the camera.
Artu Nepomuceno, Ann I, 2023. Image courtesy of the artist.
Ann Collis
Ann Colis is an international model who has transitioned to become a creative entrepreneur. She is the co-founder of The Model Rev, an international modelling search with the goal of featuring Filipino talents on a global platform and embracing diversity.
How do you know Artu? When did he ask you to be a part of this project, and why did you say yes?
I have known Artu for several years, and we have collaborated on various projects. Artu brings a vibrant energy and a director's eye to his work, making concepts clear and compelling. Recently, we teamed up for The Model Rev, where Artu is our featured photographer.
Artu's request came on the day of the shoot. I am always at ease working with Artu and his team. There is a built-in trust that lets you know you're embarking on a journey through Artu's lens.
What did you do to prepare for the shoot? Could you tell us about the day of the shoot itself? What did you do with the cloth?
During the shooting day for The Model Rev, Artu invited me to demonstrate modelling techniques and versatility to our model participants. He briefed me on the concept on the spot, and then it was showtime. Sometimes, you just have to be ready for a great concept and dive in.
The shoot’s theme revolved around the concept of yin and yang. I represented yin, while the yang was symbolised by the cloth. Our interaction felt like a dance, a struggle of trying to break free yet an acknowledgement of it being a part of me.
When you first saw the final photographs, what did you think of them?
Seeing the final photographs was a breathtaking moment. I immediately wanted them framed! Artu’s humility and dedication to his craft are truly exceptional and inspiring. His work is more than just photography; it is an art form.
Artu Nepomuceno, Teresa I, 2024. Image courtesy of the artist.
Teresa Herrera
Teresa is a Manila-based model, actor, television host, and art consultant. Hailing from Los Angeles and the Philippines, she is a storyteller who has moved through many worlds, from fashion and entertainment to art and wellness.
How do you know Artu? When did he ask you to be a part of this project, and why did you say yes?
I know Artu through friends. I am a big fan of Artu’s work, and I am always happy to support creative projects in the art industry.
What did you do to prepare for the shoot? Could you tell us about the day of the shoot itself? What did you do with the cloth?
I had no preparation prior to the shoot. I just showed up open and honest.
The day of the shoot itself was easy. The ambience in the studio was so calm, especially when Artu was playing classical music. It set the tone for me on how to approach the cloth, which is to see it more like a sculpture.
When I was listening to the music, I allowed it to filter through me and manifested it in free-form movements and expressions. I also conveyed emotional gestures of being trapped in the cloth itself.
When you first saw the final photographs, what did you think of them?
When I saw the raw files, I was delighted with the results. Artu sees things a normal person does not see. It was like seeing myself through his eyes for the first time.
Artu Nepomuceno, Maximo I, 2024. Image courtesy of the artist.
Aaron Carlos
Aaron Carlos is a photography assistant who is originally from Parañaque, Philippines. He is a part of Artu’s core team, who has assisted him on many projects, including the Vogue Philippines’ cover photo of Apo Whang-Od in 2023.
How do you know Artu? When did he ask you to be a part of this project, and why did you say yes?
Artu and I met in a park when we were playing flag football.
I was just assisting him with the photoshoot with the other models when a few days later, he asked me if I would like to be a part of the series. I was surprised, but of course I said yes.
What did you do to prepare for the shoot? Could you tell us about the day of the shoot itself? What did you do with the cloth?
Artu asked me if I could cut my hair for the photoshoot.
It was interesting to see all the models connect with the white cloth. Every individual is different from another. I think I enjoyed watching them more than doing it myself. But being there nonetheless is such a great experience.
When you first saw the final photographs, what did you think of them?
I was amazed at how they turned out! Especially how the motion and emotions were captured in the photograph.
Artu Nepomuceno, Natalya I, 2024. Image courtesy of the artist.
Natalya Lagdameo
Natalya Lagdameo is a jewellery designer who is based in Manila. She is also the founder of NLagdameo, a jewellery brand that reflects her passion for antiques, Philippine tribal traditions, and elements of good design.
How do you know Artu? When did he ask you to be a part of this project, and why did you say yes?
I met Artu a few years ago when he was planning to propose to his wife, Meg. He sought to commission the engagement ring, which resulted in a rough-cut red diamond set in a hand-cast gold band.
I was asked to be part of this project about a week before the shoot date. He explained the process using fabric as the medium. The list of subjects included people who have meant something to the couple, and this was reason enough for me to agree to participate.
What did you do to prepare for the shoot? Could you tell us about the day of the shoot itself? What did you do with the cloth?
I tried to understand how to pose for an image, as I am not used to being in front of the camera. I was initially surprised by how large the fabric was. I decided to twist it around to create creases and folds, forms that showed tension and ease at the same time.
When you first saw the final photographs, what did you think of them?
The images were striking to see, as I had no idea what I was doing and was facing the other way most of the time. It was a beautiful concept that was very honest and true.
Artu Nepomuceno, Bronija I, 2024. Image courtesy of the artist.
Bronija Ales
Bronija Ales is a Serbian-Slovenian model who is originally from Ljubljana, Slovenia. As a model, she travelled to various countries across the globe before finally deciding to be based in Manila full-time.
How do you know Artu? When did he ask you to be a part of this project, and why did you say yes?
I met Artu on my first modelling trip to Manila in 2016. My first shoot with him was for a local brand. Shortly after, we did a test shoot in his house in Alabang with his wife, Meg, who was the stylist. This collaboration continued throughout the years. Since I was also new to modelling when I met him, we always say we started our journeys together.
I was visiting my family back in Slovenia when he messaged me about this project he was working on. Without hesitation, I said yes because all the shoots we have done have ended up being my favourites.
What did you do to prepare for the shoot? Could you tell us about the day of the shoot itself? What did you do with the cloth?
I did not do anything in preparation, as I knew that every shoot with Artu would turn out amazing. The first few takes were a bit challenging since my hair was down, the wind was blowing, and I always needed to make sure my undergarments were not seen while trying to pose in different forms. But once we decided to put my hair in a bun, I could finally focus on making an impactful shape with the cloth. My main idea was to create the illusion of almost floating and seemingly being suspended while nearly touching the floor.
When you first saw the final photographs, what did you think of them?
The pictures I saw that day were breathtaking. I am glad that I got to work with him and the team. I think what sets Artu apart in addition to his skill, which speaks for itself, is how down-to-earth and humble he is. He is truly a master of his craft.
Artu Nepomuceno, Selina I, 2024. Image courtesy of the artist.
Selina Bhang
Selina is a model and artist who creates personal work that explores whatever catches her eye. She is currently employed at Plus63, an independent design studio based in Manila.
How do you know Artu? When did he ask you to be a part of this project, and why did you say yes?
I first and last time worked with Artu back in 2019 for a beauty campaign shoot. He and Meg messaged me in January to invite me to participate in this project. I said yes because I remember having a conversation with Meg at a fashion show a few months back. We talked about her background as a writer, the difference between styling and dressing, and our career paths.
I take it to heart whenever I connect with someone, so to be in the same space as Meg and Artu is an opportunity I would not miss out on.
What did you do to prepare for the shoot? Could you tell us about the day of the shoot itself? What did you do with the cloth?
Before the shoot, I practised dancing in front of the mirror to get my body loose and free.
The images were shot in the home studio of a mutual friend. I first noticed how Artu would play the score from Interstellar to set the calm atmosphere. As for the cloth, I imagined I was in an atelier based on the movie Phantom Thread. When the team asked for something more dynamic, I imagined I was Thumbelina being washed away on the water lily leaf. The team then started to piece the story together.
When you first saw the final photographs, what did you think of them?
The team effort was so great to see, and the experience was humbling since everyone had input and meaningful suggestions. Every action was deliberate, even with how the cloth movement was orchestrated. I was moved to see how everything fell into place.
Artu Nepomuceno, Sabina I, 2024. Image courtesy of the artist.
Sabina Gonzalez
Sabina Gonzalez is a model who is based in Manila. In addition to modelling, she has an educational background in architecture and works as an interior designer.
How do you know Artu? When did he ask you to be a part of this project, and why did you say yes?
When I started modelling, my first professional fashion shoot was with Artu. We got along and flowed well. I have been fortunate enough to continue working with and forming a creative bond with him over the years. I enjoy learning from and working off of his creativity, work ethic, and professional disposition.
He and Meg asked me a couple weeks prior to the shoot if I would be interested in this concept they have had brewing for a while now. Although I had not come across a project of this sort before, I know that when Artu and Meg believe in a project, it is worth it. So it was an easy yes on my part.
What did you do to prepare for the shoot? Could you tell us about the day of the shoot itself? What did you do with the cloth?
Looking back now on how the shoot played out, there really was not anything I felt I could personally do to prepare. It was very much in the moment; you had to hold the cloth, play with it, and use up the space to get a sense of what to do and how to do it. Artu works in such a way that whatever is felt on the day can be played off of; he will follow the sensibility that feels right on the spot. It is always a positively collaborative and free-flowing atmosphere in that way. That was very much the nature of this project as well.
Artu and Meg made it clear that they would not be giving any direction, as the idea was that it was completely the subject’s interpretation. I was encouraged to find my own flow and do whatever I felt in the moment, usually nonstop for the length of a song, which Artu would continuously capture. I created different forms with the cloth and tried to express length as much as possible to fill in the frame.
When you first saw the final photographs, what did you think of them?
When Artu quickly placed two photos from different sets side by side, their whole vision was immediately conveyed—clear in its intention and beautifully executed. The concept comes across as simple and straightforward, but with much to say, the subject’s character and how Artu sees them through his perspective are immediately apparent. His connection with and admiration for his creative collaborators, I think, is what strikes me as most evident. His lens captures the distinctiveness of each subject with such certainty.
Click here to access the full catalogue of ‘A Cathedral of Shadows’, and read the preview of the presentation here.
Artworks are available for acquisition.
‘A Cathedral of Shadows’ is showcased at Art Agenda (5th floor, booth 1) as a part of Art Fair Philippines 2024 from 16 to 18 February at The Link at the Ayala Center in Makati City, Manila.