KATRINA PALLON is a visual artist working with the medium of paint, photography, and masks. She also works as a freelance illustrator, book and graphic designer.

In April 2007, she graduated as a Magna Cum Laude from the University of the Philippines- Diliman with a degree in Bachelor of Fine Arts in Visual Communication. A maximalist whose creative works are highly influenced by the intricacies of Viennese and French art nouveau, her paintings, illustrations, and photographs attest to her love for elaborate designs and her knack for romanticizing even the simplest of subjects. Her works echo her enthrallment to fairy tales and myth which she fuses with ornate Pan-Asian motifs, and exquisite blooms. Her subjects more often than not comprise of dark, melancholic, sometimes mystical figures; fleeting beauty; masks; mystery; and women. Using warm, vivid tones, she translates these images into paintings and photographs.

Since 2007, she has been part of several group painting exhibitions with venues including Altro Mondo Arte Contemporanea, LRI Art Pavilion, Artasia Gallery, Verdana Art Gallery, Krem Contemporary Art, Secret Fresh, and Vinyl on Vinyl.

She presently lives in Sta. Ana, Manila. When she's not holed up in her studio, she's usually out for a long drive, training in Jeet Kune Do and Muay Thai, checking out a foodie spot, or cozily settled in some quiet hole-in-the-wall cafe. She continues to produce masks, photographs, paintings, and illustrations profusely with the hope of improving more on her craft.

“If Katrina, painter,is fascinated with anatomy and thoughts of suicide, she tries not to show that she’s morbid about it, though she may be telling us life is a matter of life and death. As far as her art is concerned, life is a jungle of intense experiences glossed over by bright colors, including primary ones, and voluptuous images o fbeautiful women – her subjects look a lot like a certain Katrina Pallon – butwho can blame her? She’s telling us that it is no accident that women – Eve’s daughters – happen to be the most attractive of the flora and fauna in that mysterious jungle.

There are peacocks inher world (as there are skulls), exotic blossoms blooming in the thick of the forest’s loveliest foliage, as well as on the coats of the women; there are pink flamingos and white cockatoos; and the most recent addition, silken lanterns glowing with an incandescent light, as if in an attempt to help the onlooker look for those hidden messages. Those large and lush flowers are also the painter’s way of hiding the wearer’s silhouette, forcing the viewer to trace where the blooming background ends and where the robe begins.”

(Jullie Yap Daza, Philippine Panorama, 2013)

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