Nikki Luna is a Painting major graduate from the Universidad de Filipinas (UP) Fine Arts Department, Luna went on to take her art residency at the Cooper Union School of Art in New York. Since then she has mounted several group and solo exhibitions of paintings, sculpture, and installations in local and international art galleries and museums in Milan, Singapore, New York, Hong Kong, Japan, China and more. Luna represented the Philippines at the Singapore Biennale 2014, Aichi Japan Triennial 2013, Beijing Biennale 2012.

Her women and children advocacies are endeavours she is currently studying in-depth in her Masters in Women and Development Studies at the University of the Philippines. She is also the founder of StartArt, a non profit organization providing art workshops to Women and Youth victims of Human rights violations in far flung areas of the Philippines and has reached out to Sierra Leone Africa in 2011.

Working with materials that are distinctly associated with femininity, such as textile and items borrowed from the domestic space (milk, diaper, eggs, curtains, photographs, mirror), Luna, have struggled to recreate the female as a dynamic entity through her sheer absence in her installations. The domestic, the family, the holy matrimony—these are the structures of power that have continually both nourished and limited the female figure. The intrinsic fragility of our ground is based on being identified as the weaker sex, whose main contributions to productivity, familial and domestic, are mostly invisible. Luna, capitalize in the tension of these irreconcilable conflicts—of woman whose value is weighed through her ability to stay and comply, whose strength is in her stoic desperation and the ability to cope through it all in the name of the keeping the balance. The streamlined and glossy appearance of all her works, though, belies the context within which these creations were culled from. Nikki Luna is a woman living in a developing country beset by issues such as the poverty, corruption, and landlessness. The absence is a metaphor for a history that has “incorporated many singular voices in a whole.” The woman, as the voice who was lost in the creation 1 of a coherent narrative of a modern history, is the one “who remembers differently.”2 My concept of a woman is not limited to just a gender but an idea that comprises the displaced, the vulnerable, and the wronged. Their absence in my works is a mapping out of a different collective history that needs to be told, one way or another.