Art as a bridge: The collaborative DNA of Filipino artist Aaron Virata Mempin
MANILA, Philippines — An artist’s path to their creative career usually begins in art school, but Aaron Virata Mempin’s journey started differently. It began in the boardroom.
Aaron proudly held a background in Marketing and spent two decades in the corporate sphere. As such, the majority of his professional life has been hinged on brand strategy, business management and numbers before he decided to transition to a full-time art practice.
Many years and various joint exhibitions later, he now stands in quiet confidence as a Filipino geometric abstractionist, a living, breathing testimony that one’s passion does not erase practice, but becomes an evolution and extension of it.
“Marketing taught me that art is not just about the canvas, but also about sustainability and numbers like inventory and reach. This business discipline allows me to manage my studio like a professional enterprise, ensuring that my passion has a solid foundation to grow,” he explained.
Unlike some artists who are reluctant about the language of business, Aaron speaks it fluently, so he runs his space like an established firm. He understands inventory, production management, tracking reach, planning and growth, and acknowledges that all these are part of his intentional practice, ensuring that his creativity is supported by strategy and his art is not a mere hobby elevated, but rather a venture designed to endure.
“My appreciation for art matured through my background in brand development and marketing. While my path wasn’t traditional, my creative awakening was fueled by the support of my family, friends, and especially my wife through her arts management initiative and creative social enterprise, Katha Pilipinas,” he said.
Katha Pilipinas is a creative social enterprise and arts management initiative that supports Filipino artists and artisans while contributing to community impact and social action. Founded in 2016 by arts manager and cultural advocate Daianne Moreno-Mempin (the artist’s better half), the organization’s mission is to foster creative leadership, community building and sustainable livelihood through the business of the arts.
“I treat my private space as my research and development phase, while exhibitions are the launch. I balance them by keeping a strict schedule that honors both the need for solitude and the necessity of public dialogue,” he clarified.
To date, Aaron has exhibited locally and internationally and has collaborated with emerging and established Filipino and global artists across visual art, fashion, design, and creative culture. What makes him particularly stand out is his collaboration-driven practice that bridges visual art, design, and cross-disciplinary creativity, with this structural alliance entrenched at the very core of his artistic DNA.
Aaron’s visual language leans toward geometric and minimalist abstraction, one that is deliberate, restrained, intentional, and oftentimes deeply meditative. He admitted that he is drawn to this type of art because it strips away the noise that abstract art may present and focuses on the essentials of structure and balance.
Over the years, his exhibition presence, style, and individual masterpieces have been featured in curated exhibits such as Art In Fusion by Katha Pilipinas, a collaborative art show highlighting expressions alongside other contemporary artists which broadened public exposure to several of his pieces. Recent notable masterpieces for him include the Pinwheel (a solo work), Ang Magtataho (a collab work with budding artists Zaha Cruz and Nikolai Quiambao), Aling Nena’s, and The Touch, two paintings he did in collaboration with Cruz and Quiambao, respectively.
“Pinwheel took me months to finish. I remember the day I passed by the Pililla Wind Farm. It brought me back to my childhood, playing with my friends, blowing pinwheels,” he said.
In today’s creative art space that often rewards visual drama and flair, Aaron’s geometric abstraction has always stood for subtlety.
“While I began in pure abstraction, I found my trademark in ‘organized chaos’, applying geometric lines in my abstract art to invite deeper, more personal conversations,” he shared.
It comes as no surprise, therefore, that in a world of visual spectacle and showmanship, his simple yet fluid lines often are the most honest elements he can personally offer, and he hopes that people who view his kind of art would feel a sense of calm and gain mental clarity, enough to act as a reset button for their senses. For him, restraint is power. It is knowing when to stop. It is allowing space for the viewer to breathe, a deliberate choice to favor purposeful clarity over clutter and chaos.
Aaron felt ready to share his work upon his personal realization that art doesn’t have to be a solo journey. Thus, he has since drawn motivation from the collaborative philosophy he has since been championing. He realized how his work was truly complete only when shared in collaboration with fellow artists, turning each piece into a discourse meant for the world to see and hear. To date, he has worked alongside established local artists such as Dominic Rubio, Ronna Manansala, and Quiccs Maiquez, while partnering with international artists like Jarl Cotterink, Tendai Kamwendo and Huw Richards Evans was pivotal for his artistic career.
“Their willingness to engage with my geometric language confirmed that my collaborative philosophy is both a valid and exciting path,” he said, affirming that his type of abstract art could hold its own even in diverse creative conversations.
Currently showcased at the Navitas Haus until March 28, 2026 is “Bridges,” an exhibit featuring Aaron’s works alongside teenage artists Zaha Cruz and Nikolai Quiambao. The Navitas Learning Haus (often simply known as Navitas Haus) is an old house built in the ‘70s in the old Poblacion area, repurposed as a learning center by a team of dedicated women educators and mothers. Founded by educator Elo Coronel-Quiambao who wants to rethink education beyond schools, this creative learning space is where education, art, conversation, and community happen in a relaxed, home-like environment.
According to Aaron, collaborating with these two young artists has allowed him to share his platform and experience with the next generation of creatives. True to the exhibit’s title, he believes that today’s artists should be a bridge-builder with a unique ability to translate complex social feelings into visual forms that people can gather around and discuss.
“Working with Nik was so refreshing. Her take on the Creation of Adam brought a new energy that my geometric lines just naturally flowed with it. It feels like a perfect bridge between her classic inspiration and my modern abstract style. I also loved adding my geometric abstract lines to Zaha’s colorful sari-sari store because it felt like bringing a modern touch to a classic Filipino scene. It was a joy to see our two different styles could come together to celebrate everyday local life,” he said.
After Bridges, he is set to share a joint exhibit with Filipina painter and sculptor Ronna Manansala (the granddaughter of 1981 National Artist for Visual Arts Vicente Manansala known for her figurative works that often explore themes of femininity, motherhood, and dance). This collaboration will be displayed at Altro Mondo Creative Space, Makati.
In April, Virata Mempin will work together with Jeff Cordova, a Filipino sneaker customization specialist and founder of JAAM Customs, known for creating bespoke shoe builds that combine craftsmanship and distinctive design. This project, which will be held at Easter Coffee Club, Antipolo, owned by couple Chef Ed and Trixie Bugia, aims to bridge two worlds by merging visual art with custom shoe design.
In May, Virata Mempin is scheduled to collaborate with Mitzi Parungao, the founder of Mitzi Jewels (known for curating and producing elegant fine jewelry and bespoke pieces that blend classic sophistication with contemporary design for a discerning clientele). In partnership with the Rotary Club of Makati, this outstanding show will explore the intersection of fine art and jewelry craftsmanship.
Other noteworthy shows to watch out for this year are the sequel of his partnerships with Dominic Rubio (one of the most recognizable contemporary Filipino figurative painters), and the Ateneo De Manila University Lux in Altum show with artists Ricky Francisco, Lala Tuazon and Hazel Imperian-Tan. Bridges will also return sometime in July with more works to display as Virata-Mempin extends his collaboration to more young aspiring artists.
“Collaboration allows me to step outside my comfort zone and see my own work through someone else’s eyes. It keeps my practice evolving and prevents me from becoming static or repetitive,” he said.
Ultimately, he simply wants to be known as an artist who helped expand the definition of what Filipino Geometric Abstraction can be. He also visualizes himself representing the Philippines in more major global art stages, showcasing a practice that is uniquely collaborative.
“I want to be an ambassador for the Filipino spirit of connection through geometric abstract art,” he said.
But at the moment, he is more than pleasantly satisfied with his present and future collaborations, knowing that whatever he pursues, he has his family and responsibilities in civic service to keep him grounded. After all, he constantly reminds himself that while art is a part of life, human connection is always the heart of it.
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