As she wears her mask, Wrenn explains its significance on her craft and the emotions she intends to evoke in her art. 

Words Sophia Pangandian
July 2, 2024

Disguise, for Wrenn, is not only a foremost feature of a mask–it is also a portal for further expression of vulnerability.

Anonymity, to her, is synonymous with a greater freedom to work and attend her shows unrecognized. People get to create a connection centered towards Wrenn as the artist, and less about Wrenn as the person behind it. “I love hearing people appreciate my work not because they know me, but because of how they see the inside of me, through my paintings.” 

Black masks combined with child-like imagery are the distinguished details that define Wrenn’s art. The former characteristic speaks about staying hidden, along with it the capacity to be vulnerable with her emotions. Rather than just being perceived in a facade, Wrenn believes that one could get to know her better through her paintings.

Intentionality is also attached to her pieces, with each release illustrating a personal impact or meaning. “It has always been my objective to show feelings and emotions, to know that they’re not alone with what the painting made them remember or feel, whether it would be a childhood memory, love, hurting, having to stay strong, or being empowered.”

While her work is primarily immersed in paintings, Wrenn has explored a variety of mediums to showcase her art. From sketches on cardboard and paper to murals, there is definitely an interest for her to explore and experiment with other channels to express her craft.

Ink, oils, and mixed media are some mediums that Wrenn wishes to imprint her art on. Her toys are also an option, in order to make them look more alive. 

With more pieces to be seen from her, revealing her identity remains an exclusion for Wrenn’s recent endeavors.

As she witnesses and is involved in the current trajectory of the Filipino art scene, Wrenn states, “There are always pros and cons in everything, but I think there is more freedom in the world of the Philippine art scene today.” 

For her, being free is not always and necessarily equated to merit. With more acceptance directed towards the freedom to create, Wrenn believes that, “we sometimes fall short with the standard of skill and thought we put in our art.”

As MoCAF draws nearer, Wrenn is preparing to release works of toys that she has always dreamt of acquiring. Already on her third solo show in the festival, she expresses that it feels very overwhelming on her side. 

She regards the Modern and Contemporary Arts Festival as a huge platform giving her the avenue to convey her goal since her beginning as an artist: “to showcase my feelings and emotions, and let my art speak for me not just as an artist but also being just simply human.” 

And to her, this is what art is.