Ronald Ventura’s layered, intricate artworks, blending Eastern and Western aesthetics, hyperreal figures and references to Old Masters, could perhaps be seen as a metaphor for the multifaceted national identity of the Philippines, his home country. Combining figurative motifs, he creates worlds that make space for both fantasy and conflict.
Ronald Ventura was born in Manila in 1973. He has a childhood memory of a friend inviting him to a free art workshop that taught him form and composition, as well as giving him the opportunity to work with different artistic materials. Ventura obtained his BFA in painting from the University of Santo Tomas in Manila in 1993.
In a practice spanning painting, sculpture, drawing and installation, Ventura’s visual language blends the contradictions of pop culture, history, fiction and realism to create his signature layered pieces. Cartoons appear alongside references to art history, and Ventura creates physical and metaphorical spaces that could represent the constant evolution of society and identity. Although the artist has said that there are many ways to read his works. Speaking in 2026, he said: “Once the work leaves the studio, it no longer belongs entirely to me. People bring their own histories, beliefs, and emotions into the encounter. It reminds me that art doesn’t have fixed meanings. Sometimes viewers discover possibilities that even the artist couldn’t see. Those moments are gifts because they keep the work alive.”
Ventura also took part in the Venice Biennale-adjacent event Glasstress 2026, produced in association with Murano glass. Ventura produced glass sculptures including the expressively spiky blue Dog (2026).
While Ventura has used the idea of “skin” as a metaphor to consider Filipino identity shaped by the ways traditions have mingled with Japanese, American and Spanish colonialism, he has also taken idea directly into artwork. Second Skin (2009) created a contrast between a monochromatic figure and colourful graphic elements, perhaps symbolising the many facets personal identity can take (those we show and those we hide).
Yes, Ventura worked at the University of Santo Tomas for nine years, basing his academic practice on open dialogue and intellectual exchange, and observing how his students produced and conceptualised their own work. Quoted in 2026, he said: “There are learnings in those conversations, such as in how he or she responds to your questions. In their answers, that’s also a question for them because they’re from a different generation.”
“Most works begin with fragments,” Ventura [said][Venice] in 2026. A “fragment” could be a photograph, a sketch, a sentence, something he discovers while reading or maybe a particular material he would like to use. He collects the fragments over time, waiting patiently for connections to appear between them.
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