BeeP-BeeP #2

Step into the mesmerizing, imaginative realm of Tokyo-based Filipino artist Dennis Sun as his latest exhibition, LOVE, graces Tully’s Coffee in Shinjuku Nichome. Running from September 1 to October 31, 2024, this much-anticipated showcase invites visitors to experience a kaleidoscope of colors, whimsy, and introspection.

Dennis Sun is no stranger to the Japanese art scene, with a well-established career that spans decades. A cum laude graduate of the University of the Philippines, Diliman, with a Bachelor of Fine Arts degree in Visual Communications, he ventured to Japan and carved out a niche as a graphic designer, illustrator, writer and multifaceted artist. From clients such as Japan Airlines, NHK, and Tokyo Disneyland to solo exhibitions in the USA, Indonesia, Philippines and Japan, Dennis’ artistic prowess has gained him recognition and acclaim both locally and internationally.

As you step into LOVE, prepare to be enchanted by the sunny creatures, the childlike wonder, and the emotional depth that fills every canvas. Dennis Sun’s art invites us not only to witness his personal journey but to reflect on our own emotions, dreams, and memories. Don’t miss this vibrant, heartwarming exhibition that promises to leave you with a renewed sense of joy, running daily until 9 PM at Tully’s Coffee Shinjuku Nichome.

Q&A with Dennis Sun: Diving into the Love Art Exhibition

1. Can you tell us about the concept behind your exhibition Love? How did it come to life?

Love was born from a desire to spread positivity during challenging times. It started with the pandemic. The pandemic forced many of us to reevaluate our priorities, helping us reconnect with what truly matters—love. The exhibition aims to create a healing space where viewers can escape and reconnect with their inner child. I wanted the experience to go beyond just looking at art, to make people feel uplifted and inspired. It encourages embracing playfulness and laughter as forms of resilience.

2. Your art often explores themes of childhood and playfulness. What draws you to these themes, and how do you see them resonating with viewers?

I believe we all carry a piece of our childhood with us, and for many, that inner child gets buried under the stresses of adulthood. Playfulness and innocence are pure forms of joy, and I think they resonate universally because they remind us to lighten up and rediscover joy in life’s simple pleasures. My work invites people to revisit those carefree moments and bring them back into their present lives.

3. You’ve chosen to exhibit your work in cafes, gardens and public spaces rather than traditional galleries. What influenced this decision, and how do you think it changes how people experience your art?

Art shouldn’t feel exclusive. Traditional galleries can be intimidating, and I wanted my work to be accessible to everyone. Cafes, gardens and public spaces are more relaxed and intimate, offering a casual environment where people can engage with art while enjoying everyday moments like sipping coffee. It makes the experience more personal and less formal, allowing art to be a part of daily life.

4. Your journey as an artist in Japan seems deeply personal. How has living in Japan shaped your artistic voice and style?

Japan has had a profound impact on my art. At first, moving here felt isolating because of the language barrier, but that solitude led to introspection. I learned to appreciate the minimalist beauty of Japanese culture, especially the concept of ma—the space or silence between things. This taught me to value simplicity and stillness in my work, while Japanese aesthetics encouraged me to be more intentional with my creations. At the same time, I’ve maintained my playful, vibrant style.

5. Your work spans several mediums, from painting to ceramics. Do you have a favorite medium, and how do you decide which one to use for a particular project?

I don’t have a single favorite medium because each one allows me to express different ideas. Painting connects me with my emotions and subconscious, while sculpture and ceramics feel more physical and grounded, helping me give form to abstract concepts. The medium I choose depends on the message I want to convey—sometimes a feeling is best expressed in three dimensions, while other times, brushstrokes and colors tell the story better.

6. In your exhibitions, you often create interactive elements, such as encouraging visitors to name your artworks. Why do you think audience interaction is so important?

I see art as a dialogue, not just something to observe. When visitors name my artworks, they become part of the creative process, adding their own emotions and interpretations. This interaction adds layers of meaning that I couldn’t create on my own. It makes the art more alive and dynamic, transforming it into a shared experience rather than passive observation.

7. How do you stay connected to your Filipino heritage while working and living in Japan? Does your heritage influence your work in any particular way?

My Filipino heritage is always with me, whether consciously or subconsciously. The warmth, community, and positivity that define Filipino culture often emerge in my work. My use of bright colors and joyful imagery reflects bayanihan—the spirit of communal unity—that’s deeply rooted in Filipino values. Living in Japan has made me more aware of how important it is to stay connected to my roots. And I have been the writing for the Filipino community in Japan through Jeepney Press.

8. Many of your pieces evoke a sense of hope and positivity, especially in difficult times. What role do you think art plays in providing solace or comfort to people?

Art has always been a source of healing, both for the artist and the viewer. During difficult times, people often turn to creativity to express emotions that words can’t capture. Art offers solace by reminding us that we’re not alone in our struggles. When people see joy and hope in my work, I hope it gives them a moment of relief and a reminder that brighter days are ahead.

9. As a multi-talented artist, how do you balance your different creative pursuits? Does your work as a graphic designer or editor influence your visual art?

Balancing different creative pursuits can be challenging, but I view it as a form of cross-pollination. My background as a graphic designer definitely influences my visual art, especially in terms of composition and spatial awareness. Writing and illustrating comics, for instance, has sharpened my storytelling skills, which is reflected in the narrative elements of my paintings and sculptures. All my creative outlets are interconnected, and they enrich one another. There are times when I need to write, but my mind is in a visual mode. Other times, I need to paint, but I'm in a writing mode. And sometimes, the two flow together seamlessly.

10. What’s next for you? Are there any upcoming projects or exhibitions that you’re particularly excited about?

I've already written and illustrated a few children's books that are awaiting publication. Hopefully, my upcoming exhibitions will align with the promotion of these books.

BEEP-BEEP #1

Q: Where are you from in the Philippines?

A: I am from Dumaguete City, Negros Oriental.

Q: Can you tell us something about yourself?

A: Certainly! I was born on February 22, 1970, in Sta. Ana, Manila, and that's where my first name, Ana, comes from. When I was five years old, I moved to Negros Oriental. I earned my degree in AB Mass Communications from St. Paul College of Manila. After that, I came to Japan to work as an Overseas Filipino Worker (OFW) in the performing arts industry. I was a cultural performing artist, model, and choreographer. I got married to a Japanese national and had two children. However, we eventually divorced, and I returned to the Philippines with my kids. 

Q: What are you currently working on?

A: In 2005, I established and managed the Japanese-Filipino Children and Filipino Global Associates College Foundation, Inc. This is a performing arts and skills training school that provides scholarships and free training for displaced Filipino artists and their children. The school is authorized by TESDA. This is my main focus right now. 

Q: How was your life in Japan, and how do you find Japan compared to the Philippines?

A: Initially, living in Japan was quite challenging because of the language barrier. However, it was also a fascinating experience. The ups and downs made me resilient and strong. I really enjoy Japanese food, but I do miss the fresh farm and seafood from my childhood. Japan and the Philippines are both unique in their own ways when it comes to culture, traditions, and people. I admire Japan's sense of responsibility and discipline, while the Philippines excels in showing love and compassion, although sometimes this is hindered by a negative mindset. Also, I must say that public toilets in Japan are the best! They reflect the country's cleanliness and respect for public spaces.

Q: What do you do now?

A: Professionally, I work as a caregiver, interpreter, and translator. Additionally, I run a company called AMT Japan, which is involved in production, event organizing, consulting, buying and selling, importing and exporting, and business entrepreneurship. On the non-profit side, I am the president and founder of the Association of Pinoy Volunteers for Assistance (APIVA). This organization is made up of Filipino and Japanese volunteers who are dedicated to providing humanitarian support, fostering friendly relations, and assisting Filipinos in Japan.

Q: How active are you in the Philippine community in Shizuoka?
A: I am deeply involved in various voluntary works and in assisting my fellow Filipinos. I always carry the Rotarian spirit of "Service Above Self" with me.

Q: What other groups have you joined besides APIVA?

I have also been involved with the Philippine NAKAMA Organization, where I serve as an advisor and past president. It is the main organization in our community. Additionally, the board members of the Shizuoka Prefectural Multicultural Affairs and Coexistence Council are interested in sharing information about Pistang Pinoy. This annual Philippine festival held in Shizuoka City serves as a platform for Filipinos to come together, celebrate, and showcase the richness of Philippine culture, tourism, and peace. The festival's main goal is to strengthen friendship between Japan and the Philippines, as well as promote a better understanding of Filipino culture to eliminate prejudice and discrimination. Pistang Pinoy offers delicious cuisine, non-stop entertainment, and genuine Filipino hospitality, making attendees feel at home.

Here are the past and upcoming Pistang Pinoy events:

- 2014: 1st Pistang Pinoy in Shizuoka (December 7 – Winter)

- 2017: 2nd Pistang Pinoy (September 3 – Summer)

- 2019: 3rd Pistang Pinoy (April 14 – Spring)

- 2024: 4th Pistang Pinoy (October 5 & 6 – Autumn)

Now, let's talk about this year's Pistang Pinoy.

After a five-year hiatus due to the COVID-19 pandemic, we are thrilled to announce that the 4th Pistang Pinoy will be held in Shizuoka City, with the support of the Shizuoka Prefectural Multicultural Affairs Division, the Philippine NAKAMA Organization, DOS-J, and various Filipino community groups and volunteers in the prefecture. The event will take place over two days, on October 5 and 6, 2024, at the beautiful Sumpu Castle Park.

The theme for Pistang Pinoy 2024 is "Geijitsu no Aki," which translates to "Autumn, the season of Arts." This theme symbolizes freshness, new endeavors, ripeness, adulthood, and maturity. Autumn is also a season of gratitude, praise, and celebration. Our main objective this year is to unite the 19,000 Filipinos residing in Shizuoka Prefecture and neighboring areas, rebuild solidarity, foster understanding and friendship with the Japanese and other foreign communities, and express our gratitude to Shizuoka Prefecture for their continuous support of the Filipino community. We are confident that this year's festival will be a spectacular event, perfectly timed and organized with the guidance of a higher power and the assistance of the right people.