Kanayunan sa Ibayong Dagat explores how memory can be embedded within form, and how spatial relationships can carry the weight of histories. The series is rooted in the artist’s research with archival material from 1904 St. Louis World’s Fair, particularly the exhibition of Filipinos, among them Igorot communities, as anthropological specimens in a fabricated village. Using organic shapes, the banana leaf for instance, recurs not only for its colonial utility as an exotic symbol, but for its layered afterlife: the Americans who brought Filipinos to the U.S. reportedly planted banana trees and observed them surviving in the snow.