In this body of work, Amiel Cagayat weaves together memory, sound, and silence through a language of surreal assemblage. Figures appear fragmented or transformed—heads replaced by flowers, instruments, radios, books, and machines—suggesting how identity is shaped not only by lived experience, but by what is remembered, recorded, and replayed.

 

Recurring objects such as radios, telephones, cameras, and musical instruments act as metaphors for communication across time. They recall moments once heard, spoken, or felt, now suspended in quiet contemplation. The absence of faces emphasizes an inward gaze, inviting viewers to project their own memories onto the figures, turning each work into a shared psychological space.

 

Nature—birds, flowers, clouds, and landscapes—softens the mechanical presence of these objects, creating a delicate tension between the organic and the constructed. This balance reflects the fragile relationship between emotion and memory: how feelings persist even as details fade, and how silence can be as resonant as sound.

 

Rather than offering linear narratives, Cagayat presents memory as layered and nonlinear—assembled from fragments, impressions, and echoes. Together, these works form a contemplative meditation on longing, nostalgia, faith, and self-reflection, where the past is not simply revisited, but quietly re-imagined.