Cover Milo Naval’s ‘Renewal’ (Photo: courtesy of APHRO)
Milo Naval’s ‘Renewal’ (Photo: courtesy of APHRO)
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Now a consummate visual artist, Milo Naval pushes the boundaries of his practice with a debut solo art exhibition that captures the delicate balance between structural design and nature’s volatile forces
The path to Milo Naval’s first solo art exhibition, Yakisugi, began not with years of institutional planning, but with a chance encounter that felt as organic as the elements featured in the show. Merely a couple of months before the opening, stylist and publicist Luis Espiritu introduced Naval to Tina Fernandez, the founder of APHRO and Artinformal. During their meeting, Fernandez discovered that Naval was searching for a venue to launch his visual art. Recognising that APHRO’s high-ceilinged, 160-square-metre space would make an ideal setting, she invited him for a walkthrough.
By coincidence, mixed-media artist Christina “Ling” Quisumbing Ramilo was also at the showroom that afternoon. As Naval’s experimental materials were being sampled in the space, Ramilo found herself immediately drawn to the tactile qualities of his work. Recognising their immediate camaraderie, Fernandez asked Ramilo to curate the exhibition. Within a remarkably brief period of one and a half months, the entire collection was finalised and installed.
Reflecting on this rapid pace, Naval explains: “Everything is new! I am a fast worker. I am so used to working that way because of my work in furniture—with furniture, I would do about six to eight shows a year all over the world, so I am used to working fast and thinking fast.”
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For those familiar with the Philippine design landscape, a Milo Naval creation is instantly recognisable for its ground-hugging scale and clean, modernist silhouette. Having studied architecture at the University of Santo Tomas and interior design at the Philippine School of Interior Design, Naval spent over fifteen years designing residential, commercial and corporate interiors before establishing Evolve Designs in 1997. The company has since exported contemporary, fuss-free furniture to Europe, the United States and South America. Naval also serves as the chief designer of OMO Furniture and Sorsogon’s boutique Siama Hotel and Siama Surf Resort.
Despite his decorated career, mounting a visual art exhibition remained a quiet, long-held dream. “I have been making artworks since before, but I was just too shy. It is not easy to come out,” Naval admits. Unlike commercial design, which requires close consideration of client preferences and regional market scales, this exhibition offered complete creative autonomy. “Whereas here, I had nothing like that to think about. I just want to show myself, I just want to express myself and I just want to be happy,” he shares.
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Above Milo Naval’s ‘Monolith’ (Photo: courtesy of APHRO)
Above Milo Naval’s ‘Kidlat’ (Photo: courtesy of APHRO)
Milo Naval’s ‘Monolith’ (Photo: courtesy of APHRO)
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At the heart of the exhibition is yakisugi, a traditional Japanese method of timber preservation that involves charring the surface of wood with fire to protect it from weathering without the use of artificial chemicals. Naval has experimented with this method for three years, occasionally incorporating singular charred pieces into his furniture lines. He is particularly drawn to the charcoal-black finish and how the charring process reveals organic cracks, splits and deep textures. This natural, chemical-free process reflects an aesthetic philosophy that respects the innate character of the wood—an approach similar to what Japanese theorists describe as “obeying the request” of the material (kowan ni shitagau) and letting it “express itself” (ikasu). The resulting collection is a direct reflection of Naval’s identity as a naturalist who prioritises homegrown materials.
“My artwork is a celebration of the four natural elements—Earth, Water, Air and Fire. Together, these elements form the perfect life-support system for our planet. Through my art, I want to show the balance and beauty of these forces. Earth grounds us, Water moves us, Air breathes life into us and Fire transforms us. I hope my work reminds viewers of our deep connection to nature and the beautiful harmony that allows us to exist,” Naval notes.
Above ‘Sun’s Dripping, Spirits Lifting’ by Milo Naval (Photo: courtesy of APHRO)
Above ‘Tickled Pink’ by Milo Naval (Photo: courtesy of APHRO)
‘Sun’s Dripping, Spirits Lifting’ by Milo Naval (Photo: courtesy of APHRO)
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Above ‘Golden Hour’ by Milo Naval (Photo: courtesy of APHRO)
Above ‘Gold Fever’ by Milo Naval (Photo: courtesy of APHRO)
‘Golden Hour’ by Milo Naval (Photo: courtesy of APHRO)
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Rather than viewing atmospheric occurrences like storms and fires with dread, the exhibition reframes these occurrences as beneficial, rejuvenating cycles. Rain quenches the earth, and fire purifies. In Yakisugi, Naval works with charred wood and wicker, galvanised steel and glass to portray these forces. The works establish a dialogue between rigid geometric order and the unpredictable volatility of nature. Charred wood and wicker hold testament to fire’s ability to destroy and preserve. Glass mirrors the precipice of water into weather, while galvanised steel immortalises the passing of seasons.
Among the works on display is Renewal, a piece comprising burnt rattan on wood that serves as Naval’s personal favourite. The artwork references the traditional agricultural practice of burning fields after harvest.
“Actually, the expression of that is more of when you burn the fields—the rice fields, you burn them, right? It produces a reaction in the soil that makes it fertile again. That is why the title of that is Renewal. I like it. That is the most natural for me among the pieces,” Naval explains.
Other notable pieces include Rain from my window, which pairs charred wood with glass; and Araw, a limited series of lighting fixtures utilising Capiz shells, metal and LED lamps. The gallery also features a playful, oversized set of pencils crafted with wax tips and charred wood finishes. The pencils, which can actually be used to draw, were an earlier experiment that Ramilo encouraged him to incorporate.
Above ‘Rain from my window’ by Milo Naval (Photo: courtesy of APHRO)
‘Rain from my window’ by Milo Naval (Photo: courtesy of APHRO)
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It is fitting that Yakisugi found its home at APHRO. Located at The Alley at Karrivin Plaza, the gallery was designed by Jagnus Studio around the concept of Jungian archetypes—specifically Aphrodite, Zeus, Dionysus and Persephone, with a giant slide representing the latter. Over the years, the venue has functioned as a creative playground where designers and makers are encouraged to bring their most unusual, functional objects. By capturing the transient movements of lightning, air, heat and rain within rigid, architectural boundaries, Naval encourages visitors to re-evaluate their relationship with the natural world. The resulting works are quiet, tactile and deeply contemplative.
Milo Naval’s Yakisugi will run at APHRO, The Alley at Karrivin Plaza, Chino Roces Avenue Extension, Makati City, until August 22.
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Before assuming the Art and Culture Editor position, Franz has always had a penchant for visual and performing arts. He is passionate about exploring and writing about the local cultural scene and rediscovering the country’s storied past and rich heritage. Besides working on this luxury lifestyle magazine, Franz is an avid book reader, local traveller, museum-goer, chorister, and community theatre playwright.
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Franz earned a degree in Journalism from the University of Santo Tomas. He writes about local visual and performing artists and their craft; drinks wines, liquors, and spirits and talks about the creativity of their respective winemakers and master blenders; tries to learn more about business and investments; respects the tradition and artistry that go behind the making of watches and jewellery; and appreciates the genius of architecture and creative design.
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