“Comic Lives” (Whitestone Ginza New Gallery, Tokyo, 2018,); “Territorial Crossing” (Primo Marella Gallery, Milan, Italy, 2018); “Territorial Terror” (West Gallery, Quezon City, PHL, 2017); “Wild State of Mind” (Tyler Rollins Fine Art Gallery, New York, 2017); “Shadow Forest, Encounters and Explorations” (The Metropolitan Museum of Manila, 2017); “Project: Finding Home” (Museum of Contemporary Arts, Taipei, Taiwan, 2016); “Talisman”, “Anito Kristo” (Ronac Art Center, Magallanes, Makati City, Manila, 2016); “Ronald Ventura-Recent Works” (Primae Noctis Art Gallery, Lugano, Switzerland, 2016); “The Hunting Ground” (Primo Marella Gallery, Milan, 2015); “Ronald Ventura-Recent Works-” (Taiwan Art Fair, World Trade Center, Taipei, 2015); “Bulul-Ronald Ventura and the traditional art of the Philippines-” (Museo delle Culture, Lugano, 2014); “Voids and Cages” (Perrotin Gallery, Hong Kong, 2013); “Recyclables” (Singapore Tyler Print Institute, Singapore, 2012), etc.
Born in 1973 in Manila, the Philippines, where he continues to live and work, Ronald Ventura ranks as one of the most acclaimed artists of his generation in Southeast Asia. Shortly after graduating from the University of Santo Tomas, Manila (B.F.A) in 1993, he began to work as an art instructor at College of Fine Arts & Design, his alma mater. Ventura’s paintings and sculptures are now among the most recognizable images of contemporary art in Southeast Asia with their unique combinations of figurative motifs. His work features a complex layering of images and styles, ranging from hyperrealism to cartoons and graffiti. Ventura takes the layering process in his work as a metaphor for the multifaceted national identity of the Philippines. Over the centuries, the profound influences of various occupying powers — Spain, Japan, and the United States — along with the underlying indigenous culture, have produced a complex and at times uneasy sense of identity. Ventura explores this historical and psychic phenomenon through a dialogue of images evoking East and West, high and low, old and young — seen, for example, in allusions to Old Master paintings or Japanese and American cartoons. He draws our attention to the “second skin” of cultural signifiers that each person carries with him, however unwittingly. Ventura views skin as an expressive surface — written on with tattoos, concealed under layers of imagery, or exploding outwards to reveal an inner world of fantasy and conflict.