Eunice Sanchez

Biography

Eunice Sanchez engages with themes related to preservation and perception through photography and alternative processes. She recontextualizes the materiality of her medium to demonstrate the demand for history to be re-examined.

She has participated in several group exhibitions in the Philippines, including Position Paper: A Group Exhibit of Works on Paper, Galerie Stephanie (2019); Bloom Arts Festival (2018); The Aetas of Barangay Nabuclod in collaboration with International Photography Awards-Philippines, De La Salle-College of Saint Benilde (2017); Commune Pilipinas Street Plan 10th Year Anniversary Post Gallery, Cubao X, Quezon City (2016); and Present Progressive: Visual Narratives on Morphosis, VETRO Gallery (2016).

She was named the Silver Recipient in the book (self-published/documentary) category at the International Photography Awards Philippines (2017) and was a resident at ‘Visualising Histories’, a collaborative project between Museum Collective (Philippines), Load Na Dito (Philippines) and Sa Sa Art Projects (Cambodia), supported by Asian Cultural Council (2021).
Sanchez holds a bachelor’s degree in Photography from De La Salle, College of Saint Benilde (2018) and a bachelor’s degree in Psychology from De La Salle University (2014).

Born in 1993 in La Union, the Philippines, Sanchez currently lives and works in Manila.

Residency Interests

During my residency at Sharjah Art Foundation, I will be exploring the idea of pugad (nest). Pugad engages with the necessity of movement and migration that is ingrained in human history. I will be using images from my own archive that recall our historical significance as sailors, traders and voyagers. These images will materialise as an assemblage of cyanotype prints and fabric pieces hand-stitched together to create a personal cartography. I will also be experimenting with toning processes, using coffee grounds, tea and tannic acid–probably leading to different layers and textures. I envision the piece to become a map of fragments and possibilities. Pugad seeks to add nuance to the diasporic experience necessitated by survival. Despite the expansion of experience and discovery, the interwoven prints show the physical connectedness being threatened. In the process of mitigating the distance by seeking the familiar in a foreign land, a person also returns as a stranger to their own people. Pugad’s melding of images and fabric seeks to demonstrate the transitory nature of a space one wishes to inhabit, a sought out state of being home.