About / Statement
Juke is a spatial designer and a visual artist. He was born and raised in Manila, Philippines. He migrated to the US through San Francisco, CA and is currently based in New York City.
Juke works in an architectural, spatial, and object-oriented practice weaving in kapwa, a core indigenous Filipino psychology that is “a recognition of shared identity, an inner self shared with others” (Enriquez 2004). Kapwa becomes the framework in which he operates in, alongside cultural research and architectural methods to reclaim from underrepresented and misrepresented narratives.
Through his work, he attempts to deepen the way we understand one’s interconnectedness to their community, culture, place, environment, and history helping us navigate a course of healing from (colonial and imperial) trauma. His intent is to harbor feelings through mixed media and assembled installations borrowing from domestic and cultural images, spaces, places and things revealing the value in our history and celebrating the beauty of our living.
Juke graduated with a degree of Bachelor of Architecture. In 2020, he co-founded NOMASAAU to create space for minority architecture students at Academy of Art University and beyond. He is an alumnus of Non-Profit Housing Association of Northern California's Bay Area Housing Internship Program (BAHIP) where he worked at Tenderloin Neighborhood Development Corporation (TNDC) as a housing development assistant project manager. He was an architectural designer at Haddock Studio. In 2021, Juke led Partial, a design practice working in space, objects and furniture. His first artistic project was a public mural in his adoptive home of Excelsior district in San Francisco. Juke’s latest installation was exhibited at Kearny Street Workshop’s APAture 2021: Embrace and continues to be exhibited throughout San Francisco.
Juke is a spatial designer and a visual artist. He was born and raised in Manila, Philippines. He migrated to the US through San Francisco, CA and is currently based in New York City.
Juke works in an architectural, spatial, and object-oriented practice weaving in kapwa, a core indigenous Filipino psychology that is “a recognition of shared identity, an inner self shared with others” (Enriquez 2004). Kapwa becomes the framework in which he operates in, alongside cultural research and architectural methods to reclaim from underrepresented and misrepresented narratives.
Through his work, he attempts to deepen the way we understand one’s interconnectedness to their community, culture, place, environment, and history helping us navigate a course of healing from (colonial and imperial) trauma. His intent is to harbor feelings through mixed media and assembled installations borrowing from domestic and cultural images, spaces, places and things revealing the value in our history and celebrating the beauty of our living.
Juke graduated with a degree of Bachelor of Architecture. In 2020, he co-founded NOMASAAU to create space for minority architecture students at Academy of Art University and beyond. He is an alumnus of Non-Profit Housing Association of Northern California's Bay Area Housing Internship Program (BAHIP) where he worked at Tenderloin Neighborhood Development Corporation (TNDC) as a housing development assistant project manager. He was an architectural designer at Haddock Studio. In 2021, Juke led Partial, a design practice working in space, objects and furniture. His first artistic project was a public mural in his adoptive home of Excelsior district in San Francisco. Juke’s latest installation was exhibited at Kearny Street Workshop’s APAture 2021: Embrace and continues to be exhibited throughout San Francisco.
Links
CV
Resume ︎︎︎
Portfolio ︎︎︎
Work Sample ︎︎︎
Contact
Click here to email me! ✌️
Social
IG-personal/jukestapostion
IG-art/jukejose
Are.na/juke-jose
LinkedIn/jukejose
More
Partial is a design practice. Partial works in spatial design, furniture, objects, etc. More at partialpractice.com
Image Pile
Credits
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CV
Resume ︎︎︎
Portfolio ︎︎︎
Work Sample ︎︎︎
Contact
Click here to email me! ✌️
Social
IG-personal/jukestapostion
IG-art/jukejose
Are.na/juke-jose
LinkedIn/jukejose
More
Partial is a design practice. Partial works in spatial design, furniture, objects, etc. More at partialpractice.com
Image Pile
Credits
Art
2023 It hurts to say goodbye
2022 Until we opened our eyes
2021 Time has brought us together
2021 An act of mutual understanding
2019 Here, Elsewhere
2017 Nawawala; Missing
Architecture, Academic
2021 From Individualism to Kapwa
2020 South Berkeley Commons (N/A)
2020 900 Innes
2020 SFMOCA (N/A)
2019 Wayfinding
2019 Building Path
2018 Life is a Drag Theater
Architecture & Design, Partial*
2023– Breathing Room
2023– A-P (Advanced Placement)
2022– Western Avenue Loft
2022– Furniture / Objects
2022 Two Two Gallery-Shop
2022 Adolescence Leaves
Architecture & Design, Haddock Studio**
2022 Chavez Roof Terrace
2022 MoMA x Baggu Pop-Up
2021 Baggu Display Fixtures
2021– Temescal Kitchen and Landscape
2020– Eagle’s Nest Cabin
2019– Cabin in the Woods
Notes
a. Greyed text are in progress / To be added
b. * Project / lead designer. Works made through Partial are redirected to Partial’s website.
c. ** Participated as a project team member at Haddock Studio. All works are redirected to Haddock Studio’s website.
2023 It hurts to say goodbye
2022 Until we opened our eyes
2021 Time has brought us together
2021 An act of mutual understanding
2019 Here, Elsewhere
2017 Nawawala; Missing
Architecture, Academic
2021 From Individualism to Kapwa
2020 South Berkeley Commons (N/A)
2020 900 Innes
2020 SFMOCA (N/A)
2019 Wayfinding
2019 Building Path
2018 Life is a Drag Theater
Architecture & Design, Partial*
2023– Breathing Room
2023– A-P (Advanced Placement)
2022– Western Avenue Loft
2022– Furniture / Objects
2022 Two Two Gallery-Shop
2022 Adolescence Leaves
Architecture & Design, Haddock Studio**
2022 Chavez Roof Terrace
2022 MoMA x Baggu Pop-Up
2021 Baggu Display Fixtures
2021– Temescal Kitchen and Landscape
2020– Eagle’s Nest Cabin
2019– Cabin in the Woods
Notes
a. Greyed text are in progress / To be added
b. * Project / lead designer. Works made through Partial are redirected to Partial’s website.
c. ** Participated as a project team member at Haddock Studio. All works are redirected to Haddock Studio’s website.
Updates
May 2023 Participated at Bass & Reiner’s Pyramid Scheme exhibition.
April 2023 Time has brought us together is part of Dreaming People’s History, organized by the SFPL and KSW at the San Francisco Main Library’s Jewett Gallery.
Jan 2023 (You and I, we were Americans) until we opened our eyes will be part of the inaugural exhibition at Michelle Thomas Fine Art Gallery, San Francisco, CA.
Oct 2022 (You and I, we were Americans) until we opened our eyes exhibited at Kearny Street Workshop’s APAture 2022: Autonomy.
Oct 2022 Started Western Avenue Loft design in Seattle, WA.
Oct 2022 Top-off of Two Two gallery-shop at 3221 Grand Ave, Oakland, CA.
May 2022 Graduated with a Bachelor of Architecture (B.ARCH) at Academy of Art University, San Francisco.
May 2022 Moderated AAU’s Ethics & Leadership: Affordable Housing with panelists, Stephen Ellis, Frances Kwong, and Abel Morales.
May 2022 Led the design of Two Two gallery-shop in Oakland, CA. Opening in Fall 2022.
Feb 2022 Time has brought us together exhibited at A Between, curated by Muz Collective at Root Division.
Dec 2021 Submitted architecture thesis, From Individualism to Kapwa.
Sep 2021 Time has brought us together exhibited at Kearny Street Workshop’s APAture 2021: Embrace.
Oct 2021 Led the design of Nathan Truong’s book, Adolescence Leaves. To be printed in Seoul, South Korea in 2022.
Aug 2021 Launch of Partial, a design practice.
Jun 2021 Started at Haddock Studio, an architecture and design office in San Francisco, CA as an architectural designer.
Jun 2021 Finished term as president at NOMASAAU. Continues as a chapter advisor.
Jun 2021 Graduated NPH’s Bay Area Housing Internship Program.
Apr 2021 Kapwa in Excelsior mural displayed at 49 Ocean Ave, San Francisco, CA.
Mar 2021 Finalist of Balay Kreative’s Kapwa in Excelsior.
Sep 2020 Co-founded NOMASAAU and elected as its first chapter president.
Jul 2020 Selected as one of NPH’s cohort of Bay Area Housing Internship Program at Tenderloin Neighborhood Development Corporation.
May 2023 Participated at Bass & Reiner’s Pyramid Scheme exhibition.
April 2023 Time has brought us together is part of Dreaming People’s History, organized by the SFPL and KSW at the San Francisco Main Library’s Jewett Gallery.
Jan 2023 (You and I, we were Americans) until we opened our eyes will be part of the inaugural exhibition at Michelle Thomas Fine Art Gallery, San Francisco, CA.
Oct 2022 (You and I, we were Americans) until we opened our eyes exhibited at Kearny Street Workshop’s APAture 2022: Autonomy.
Oct 2022 Started Western Avenue Loft design in Seattle, WA.
Oct 2022 Top-off of Two Two gallery-shop at 3221 Grand Ave, Oakland, CA.
May 2022 Graduated with a Bachelor of Architecture (B.ARCH) at Academy of Art University, San Francisco.
May 2022 Moderated AAU’s Ethics & Leadership: Affordable Housing with panelists, Stephen Ellis, Frances Kwong, and Abel Morales.
May 2022 Led the design of Two Two gallery-shop in Oakland, CA. Opening in Fall 2022.
Feb 2022 Time has brought us together exhibited at A Between, curated by Muz Collective at Root Division.
Dec 2021 Submitted architecture thesis, From Individualism to Kapwa.
Sep 2021 Time has brought us together exhibited at Kearny Street Workshop’s APAture 2021: Embrace.
Oct 2021 Led the design of Nathan Truong’s book, Adolescence Leaves. To be printed in Seoul, South Korea in 2022.
Aug 2021 Launch of Partial, a design practice.
Jun 2021 Started at Haddock Studio, an architecture and design office in San Francisco, CA as an architectural designer.
Jun 2021 Finished term as president at NOMASAAU. Continues as a chapter advisor.
Jun 2021 Graduated NPH’s Bay Area Housing Internship Program.
Apr 2021 Kapwa in Excelsior mural displayed at 49 Ocean Ave, San Francisco, CA.
Mar 2021 Finalist of Balay Kreative’s Kapwa in Excelsior.
Sep 2020 Co-founded NOMASAAU and elected as its first chapter president.
Jul 2020 Selected as one of NPH’s cohort of Bay Area Housing Internship Program at Tenderloin Neighborhood Development Corporation.
Nawawala; Missing
Type
Installation
Year
2017
Media
Sampaguita flowers, rosary, flag, organza fabric, variable
Dimensions
Dimensions vary with installation
Description
1 — Dasal; Prayer
Ang nakalipas na buhay ay nagpapatunay sa ating pang-kasalukuyan. Sa paggunita sa mga nawalang buhay sa nakalipas at kasalukuyang estado ng pulitika ng ating bansa, ang bungkos bungkos na mga sampaguita ay sumasagisag sa mga naglahong pagkakakilanlan.
Ano ang layunin ng isang lapida maliban sa pagpapatibay ng mga panalangin para sa ating mga pinakamamahal? Ang bahaging ito ay pagdiriwang ng iba’t ibang damdaming bumabalot sa atin mula sa pagitan ng buhay at kamatayan, pagkawala at pagmamahal, at ang ating pagkakakilanlan ng nakaraan at kasalukuyan.
Past lives confirm our present tense. In commemoration of the lost lives in the forever and current political state of the country, bundled burdens of sampaguita flowers will echo the presence of identities disappeared.
What is a tombstone but a calcified prayer to the ones we love the most? This is a celebration of the mixed emotions that encompass us in the juxtaposition between life and death, loss and love, and how we come to put a name to our bodies in between the past and the present.
2 — Ako ay Pilipino; I am Filipino
Kung ang ating pagkakakilanlan ay palaging nagbabago sa ating tanang buhay, ito ay masasabing marupok. Maihahalintulad dito ang isang watawat. Ang mga tupi at lukot nito tuwing ito ay lumilipad ay sumisimbolo sa ating mga kaluluwa na tumutugon sa ating ideya ng atin at panahon. Ang konteksto nito ay nagbabago sa estado ng kapayapaan at digmaan. Ang kulay nito ay kumukupas mula sa sinag ng araw subalit ito’y kumukupas rin sa ating pagtanggap at pagsabuhay sa mga banyagang pamamaraan.
Sa tanghalang ito, tayo ay mapapa-isip sa nawawala. Paano natin masasabi na ‘tayo ay Pilipino’ ng buong-buo? Paano natin maihahabi pabalik ang ating watawat na gawa natin para sa atin? Kailangan nating paalalahanan ang ating mga sarili na bilang taong-bayan, tayo ay may kapangyarihang pumili na pagsikapin at pagtibayin ang ating pagkakalinlanlan sa katotohanan, sa paghirang ng kulay sa ating watawat.
If an identity shrinks and shapeshifts across time, it is but a fragile thing. An example of this is a nation’s flag. The folds and creases a flag exemplifies in the wind are but our souls reacting with the idea of time and us. Its context shifts in the air of war or peace. Colors fade with sun, and do so too with ingrained colonial ideals, and these accepted ideas.
In this exhibition, we will ask ourselves, for what is broken or loss, how do we sew back our skin to the flesh we were given? How do all the threads of ourselves create the flag we made for us by us? We must remind ourselves that as people, we have a choice, and we must make the conscious effort to confirm our identities in the reality which we choose to color our flag.**
*The poem is a Tanaga, a type of Filipino poetry. The Filipino (Tagalog) and English poems are not direct translations
**Didactic as told by Nathan Truong; translated in Filipino with Danielle Nolasco.
Installation
Year
2017
Media
Sampaguita flowers, rosary, flag, organza fabric, variable
Dimensions
Dimensions vary with installation
Description
Kailan ka sisinag
Nawawalang liwanag
Ako’y iyong gisingin
Sa pagkaka-alipin*
Rouse us, bestow us power
To reclaim what was conquered
To rewrite our history
To find our identity*
1 — Dasal; Prayer
Ang nakalipas na buhay ay nagpapatunay sa ating pang-kasalukuyan. Sa paggunita sa mga nawalang buhay sa nakalipas at kasalukuyang estado ng pulitika ng ating bansa, ang bungkos bungkos na mga sampaguita ay sumasagisag sa mga naglahong pagkakakilanlan.
Ano ang layunin ng isang lapida maliban sa pagpapatibay ng mga panalangin para sa ating mga pinakamamahal? Ang bahaging ito ay pagdiriwang ng iba’t ibang damdaming bumabalot sa atin mula sa pagitan ng buhay at kamatayan, pagkawala at pagmamahal, at ang ating pagkakakilanlan ng nakaraan at kasalukuyan.
Past lives confirm our present tense. In commemoration of the lost lives in the forever and current political state of the country, bundled burdens of sampaguita flowers will echo the presence of identities disappeared.
What is a tombstone but a calcified prayer to the ones we love the most? This is a celebration of the mixed emotions that encompass us in the juxtaposition between life and death, loss and love, and how we come to put a name to our bodies in between the past and the present.
2 — Ako ay Pilipino; I am Filipino
Kung ang ating pagkakakilanlan ay palaging nagbabago sa ating tanang buhay, ito ay masasabing marupok. Maihahalintulad dito ang isang watawat. Ang mga tupi at lukot nito tuwing ito ay lumilipad ay sumisimbolo sa ating mga kaluluwa na tumutugon sa ating ideya ng atin at panahon. Ang konteksto nito ay nagbabago sa estado ng kapayapaan at digmaan. Ang kulay nito ay kumukupas mula sa sinag ng araw subalit ito’y kumukupas rin sa ating pagtanggap at pagsabuhay sa mga banyagang pamamaraan.
Sa tanghalang ito, tayo ay mapapa-isip sa nawawala. Paano natin masasabi na ‘tayo ay Pilipino’ ng buong-buo? Paano natin maihahabi pabalik ang ating watawat na gawa natin para sa atin? Kailangan nating paalalahanan ang ating mga sarili na bilang taong-bayan, tayo ay may kapangyarihang pumili na pagsikapin at pagtibayin ang ating pagkakalinlanlan sa katotohanan, sa paghirang ng kulay sa ating watawat.
If an identity shrinks and shapeshifts across time, it is but a fragile thing. An example of this is a nation’s flag. The folds and creases a flag exemplifies in the wind are but our souls reacting with the idea of time and us. Its context shifts in the air of war or peace. Colors fade with sun, and do so too with ingrained colonial ideals, and these accepted ideas.
In this exhibition, we will ask ourselves, for what is broken or loss, how do we sew back our skin to the flesh we were given? How do all the threads of ourselves create the flag we made for us by us? We must remind ourselves that as people, we have a choice, and we must make the conscious effort to confirm our identities in the reality which we choose to color our flag.**
*The poem is a Tanaga, a type of Filipino poetry. The Filipino (Tagalog) and English poems are not direct translations
**Didactic as told by Nathan Truong; translated in Filipino with Danielle Nolasco.
Exhibition Images
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