How to Maximize ‘Spotify for Artists’ from Spotify Editors Themselves

People say that glass is a symbol of fragility and vulnerability, but it is also one of strength, resilience, and rebirth. One of the artists that embodies this duality profoundly is Goldie Poblador, whose glass pieces may look dainty and ethereal at first glance but are powerful in meaning. 

She pushes the boundaries of glass as more than just objects of beauty, with her works and exhibitions transforming it into an immersive, multisensory experience — attracting sight, scent, and hearing to create another world. Inspired by nature, folklore, and the body, Goldie Poblador’s glass sculptures invite interaction, to shift one’s perspectives, and to immerse oneself in the environment evoked by them. 

In our latest artist spotlight, The Beat Asia chatted with Goldie Poblador as she talked about her beginnings in her medium, her meticulous creative process, and the inspirations behind her work. 

What drew you to glass sculpture as your primary medium?

It started in 2009 for my undergraduate thesis in UP Diliman, and I wanted to work with scent because scent is our sense that’s mostly connected to the limbic system in the brain, and that’s the part that retrieves and stores memory. Sometimes it’s known as the 'feminine' side of the brain, as opposed to the logical, more 'masculine' side of the brain. Funny how they gender it, right? (laughs) 

Our sense of smell is mostly linked to our memory. You smell something from your childhood, like candy, for example, and it brings you back to that memory. So I wanted to work with something that triggers that. In that same year, Typhoon Ondoy happened. 

I then had the idea to make an ironic perfume that critiqued the building of a mall in the area I grew up in. So, I wanted my thesis to conjure something commercial but to have an underlying tone like, 'You probably shouldn't have dredged the river...' and to conjure my childhood memories. 

For me to make my perfume bar, I started to experiment with scent, and I was like, 'Wait, I should make my own perfume bottles.' And that's how the door opened to glass. 

What challenges do you face in working with glass, and how do you push the boundaries of this medium?

Where to begin? (laughs) It’s been hard, it is very challenging. 

When I was starting out, I knew nothing about perfumery, and so a lot of the perfumes I made were [a mix of scents collected from nature, among others]. I had this perfume called 'L’Eau de Pasig,' from the Pasig River — the scent of squalor of the Pasig River. 

Glass was also challenging; I first learned from a scientific glassblower named Ancieto de Castro, and he was the first access I had to glass blowing back in 2009. He was part of the American Scientific Glassblowers Association, and he encouraged me to go abroad and learn more because learning the technique was limited in Manila. 

I showed the perfume bar at UP for my thesis, and luckily, someone saw it. A curator named Joyce To from the Singapore Art Museum and I got commissioned to make a bigger version, but this time telling the history of the Philippines through scent. 

Slowly, I would get booked, gigs, and funds. And the challenges of that, I mean, it was a weird material to sell, right? Glass and scent; the Philippine market was not as responsive. Let’s say that, and they still aren’t! (laughs)

I would say funding is the biggest challenge, and to me, starting out and even to this day, it’s access — to glass blowing studios, materials, and equipment. Throughout these years since 2009, I’ve just been actively and consistently applying to all grants, residencies, scholarships, and workshops that I can get my hands on. 

Once in a while, I’ll get something, sometimes I won’t, most often I don’t. My inbox is full of rejection letters, but it’s part of being an artist, especially working with such a strange medium, and I am very stubborn. And since I’ve been a stubborn person since 2009, I guess I’m happy in a way that I’ve pursued the material. 

I wanted to see all these scent glass things come to life. It’s been over a decade, and I still feel like I have more to do and learn. So, it’s a dance between the desire to create and finding the opportunities that allow me to create. 

Can you walk me through your creative process?

When I think back to the start of 'The Rise of Medusa,' this was in 2023, I was sculpting flowers for a few years before the project 'Fertility Flowers' happened, but I felt that 'Okay, I think I need a break from these flowers.' I had been sculpting flowers since 2015, and I wanted something different.

I was inspired by the oil spill in the Verde Island Passage in the Philippines, and I was also going through a dark time due to the amount of violence against Asian people in America. So, I gravitated to marine invertebrates. Research was my first step; I connected with the Biodiversity Management Bureau of the Philippines and marine biologists from USC, where I learned that the biodiversity in the region was a product of their resilience. That was inspiring to me, and I saw it as a metaphor for diving into your subconscious dark side, your Jungian shadow side.

Next came execution. I specialize in glass frameworking, and I draw my influence from the 19th-century Blaschka's. My Corning Museum of Glass residency was pivotal, where I had access to limitless materials and experts in the field, which allowed me to experiment freely for my new project. 

This then turned into a multi-sensory experience. I worked with a curator (Erwin Romulo), sound artists (Arvin Nogueras, Ben Richter), and a perfumer (M Dougherty) to incorporate scent and sound into my project, after realizing 'What if there was the scent of the Verde Island Passage through time?' It was designated as a hope spot by marine biologists, and I wanted to show that through scent and sound. 

It was a challenge — coordinating across time zones, creating countless sculpture versions — but it all paid off. 

At the final stage, I had to fight for the performance to be included in the Art Fair Philippines 2025. People doubted it, but after two years of hard work and being stubborn, I wasn’t going to back down. In the end, everything came together—the glass, the scent, the sound, the performance. It proved that vision, collaboration, sheer stubbornness, and resilience bring ideas to life. 

How do you ensure the harmony between the visual, olfactory, and digital aspects of your art?

That’s a great question. You don’t know until you install it. 

Sometimes I have the chance to plan it out, and sometimes I don’t. Sometimes I get an emergency grant, and I rent a studio space for a week, and that’s all I test — scent, sound, glass, performance video — so it depends on access, but you know, you work with what you got. 

Where do you draw inspiration for your works?

I’m kind of a nerd, I’m always curious about my environment. 

My inspiration comes from research, history, and stories. For my project 'Fertility Flowers,' the peacock flowers and the Dama de Noche flowers were two flowers found around my childhood home, and I always questioned where they came from. 

Years later, in 2020, I learned that peacock flowers were used as an abortive drug by the women of Suriname because they didn’t want their children to be enslaved. Suriname was a Dutch colony in the 15th century, and the person who discovered this was a female botanical artist whom I extremely admire, Maria Sibylla Merian. 

The Dama de Noche, known as the 'Lady of the Night,' in Philippine mythology, is about a woman who could not bear children, who was punished and turned into the flower. I thought, 'Wow, this is the opposite of the women in Suriname.' 

That’s how I got the title 'Fertility Flowers,' because these two stories are issues that are important to women in this day and age. People would tell me, 'Your themes are old, feminism is dead,' and yet here we are in 2025, witnessing the removal of women’s rights in different parts of the world. 

How did you become involved in Art Fair Philippines?

In 2024, two pieces from 'The Rise of Medusa' were part of a group show with MONO8. It was in a tiny space, but I installed it with UV lights and scent. People stood in line for it, and I was shocked. 

Trickie Lopa (one of the founders of Art Fair PH) reached out to me on the last day as I was walking up the stairs, and she said, “Goldie, ikaw next year ha (you'll be part of Art Fair Philippines next year, okay)? I want something interactive.” 

So, I said, 'Game!' and that’s how I got invited — on the steps of The Link. 

What does it mean to you to be a part of this event?

I’ve known Trickie, Dindin, and Lisa since I was a child. So, when they invited me, I felt like 'Oh my god, I have to do it.'

When I have an idea, I kind of just keep working on it, whether or not I have a solid invitation. By the time Trickie messaged me on WhatsApp in June, saying 'Hey Goldie, are you down? And do you want to sign with a gallery to do this?'

I said, 'Oh yes, I’m down, I’ve been working on it.' When I got her message, I was at Brooklyn Glass working on it. So, I always stay prepared because what propels me first is usually the idea. 

Can you describe 'The Rise of Medusa'? What was the connection between the 2023 oil spills to the feminine icon, Medusa?

Believe it or not, Medusa is the name of a baby jellyfish. 

On the other hand, I already worked on a project surrounding the Filipino goddess of the sea and death, Magwayen. When I did more research, I liked that idea. It’s so dark, and this was also the goddess of rebirth. I realized that this was an archetype in all mythology, existing in different regions in the world but with different names.

Magwayen and Medusa were essentially the same witch trope; the Medusa archetype. 

There was something about 'The Rise of Medusa' that felt right; I liked the title because I imagined myself as this monstrous feminine rising from the darkness. But, the only way to rise is to conjure that archetype, right? 

In 2023, after getting attacked in the subway, I felt mentally weak; I could barely walk on the street without running. So, I began to think about the parts of myself that could be tough. To me, it’s that archetype of the witch, the whore, and the monster. 

And when I did more research into the monstrous feminine, I began to imagine her character as me. Like the oil spill that threatened the Verde Island Passage, I had to rise and transform my pain into resilience. 

'The Rise of Medusa' was me being reborn.

Any upcoming projects, collaborations, or exhibitions that your audience can look forward to?

I was commissioned to do this show at a church in Times Square. I know that I want to be inspired by the façade of this church, and to work with the Church of St. Mary the Virgin. So, I started to do research on the vilified and virtuous biblical women and to tie that back to the monstrous feminine. 

I don’t know what that is going to look like, but It’ll start production this year. I want the performance to be in the church, and the performance will be in October 2025. 

Learn more about Goldie Poblador and her works by visiting her website and following her on Instagram.

In the world of Philippine entertainment, few phenomena are as beloved and enduring as the “Love Team.” There’s nothing quite like it. Sure, Western cinema has given us some iconic celebrity pairings, but Filipinos have taken fanaticism up a notch with their Love Teams. We can even say it practically runs the showbiz industry with its expansive and fiercely loyal fanbase that has endured for many years. These on-screen pairings have captured the hearts of audiences, blurring the lines of fiction and reality. 

From the golden era of Philippine cinema to the rise of social media-driven fandoms, Love Teams have not only fueled blockbuster movies and top-rated teleseryes (television dramas), but have also shaped the careers of actors and networks, and ultimately redefined the country’s pop culture landscape. 

But what exactly makes these pairings so compelling? What is it about their chemistry, and how do industry executives know when two actors are meant to be on screen? In our latest explainer, we’re diving into the concept of “Love Teams” and why, in the Philippines, romance is not just a storyline but a national obsession. 

What is a ‘Love Team’?

From the name itself, a “Love Team” is a pairing of actors who are depicted to the public as a romantic couple. This concept can be traced way back to the 1920s with the tandem of Gregorio Fernandez and Mary Walter, who starred in local silent films.

Love pairings in cinemas aren’t exactly new, nor is it something that’s solely practiced in the Philippines. We’ve seen Hollywood actors in romantic feature films too, but the Philippine showbiz world operates in an unorthodox manner when it comes to these tandems. Once actors are paired up, they are expected to work together on multiple projects and even extend the act off-screen, which somehow ends up with the actors involved being at the mercy of their respective fandoms. 

By that, we mean people start to fiercely root for them, hoping they end up together for real, which has indeed happened multiple times over the years. Just look at Marian Rivera and Dingdong Dantes, two of the most beloved actors who were once a love team for over eleven years and are now married. 

Much like how lovers develop feelings for each other over time, fans develop this belief that the actors within a Love Team are somehow brought together by fate thus expecting them to live out a love story akin to the stories they play on screen. The more real a love team becomes, the more money it brings into the actors' and networks’ pockets.  

But what exactly makes a good love team? Are there qualifications? We consulted with an industry insider, award-winning screenwriter Noreen Capili who has worked on multiple films and television programs for one of the country’s top media conglomerates, to get her opinion on what makes a love team “click.”

“Two things: Chemistry and authenticity,” she answered. “Chemistry is that unexplainable magic — yung titigan palang, kinikilig ka na (from the way they stare at each other, you instantly feel the butterflies). It has to be natural, not forced.”

“But chemistry isn’t enough, it also has to feel authentic. Fans will know if it’s fake. They want the truth behind the kilig — even if you can’t truly confirm if they’re together for real, you feel there’s something there. Plus, the journey matters. It’s not all about the sweet moments. There also has to be growth, which is shaped by conflicts and heartbreaks, while still finding their way back to each other. 'Love Teams' that evolve with their audience stay longer and mature alongside their fans.”

Love Teams on Becoming a Brand

On the bright side, being in a Love Team can boost an actor’s popularity and shape their careers and is a sure way to gain stardom in the industry. This can be assumed from how the highest-grossing films in the country, including the only one that surpassed the billion-peso mark stars loveteams. In fact, if we are to look at the top 10 alone, six of these films feature popular love tandems and were able to bring in millions of pesos!  

This is mostly due to the fandoms they build, and how they gain massive support simply by working together on various projects. Of course, this comes with the fact that fans enjoy seeing their relationship develop, hoping that the more they work together, the higher the possibility of developing actual feelings for each other. This shows how many Filipinos are hopeless romantics and simply love the concept of “falling in love.”

“Filipinos are naturally romantic. We’re into love stories and happy endings,” Noreen said when asked why Love Teams are so popular among local audiences.

If you ever tried marathoning Filipino movies that star Love Teams, you’ll notice a pattern in their projects and how it’s almost always romantic comedies or dramas. The Cinderella trope is probably the top trope used in these stories or the “good girl x bad boy” story where the girl inevitably changes the guy to be better. Some examples include KathNiel’s “She’s Dating the Gangster” and JaDine’s “Ang Diary ng Panget.”

“We all want to consume stories that make us feel kilig, that will make us laugh then cry towards the end,” Noreen told The Beat Asia. She also mentioned that looking back on Pop Culture history, romance stories have always played an important role in Filipinos' lives. 

An example would be the “Precious Hearts Romances” (PHR) pocketbooks, which gained popularity in the '90s up until the 2010s as they were bought and read by working-class Filipinos. From the sales ladies at the department stores down to the factory and office workers, everyone was holding one of these pocketbooks, reading them during their lunch breaks or while stuck in heavy traffic. In 2012, PHR published 40 to 50 titles a month and was named the most prolific publisher of local romances. Today, its mother company, Precious Pages Corporation (PPC) created Life is Beautiful (LIB) Books which is aimed at encouraging online readers to return to the pages by publishing popular fiction from Wattpad and other platforms. One of their most bestselling titles includes Maxinejiji’s “He’s Into Her” series, which was adapted into TV show starring one of today’s biggest loveteams, Donny Pangilinan and Belle Mariano.   

“They offered escape and entertainment,” Noreen stated. “Even for just a little while, they are taken with a romantic story. It comforts them that no matter how hard life gets, they can still find true love.” 

“It’s the same with Love Teams. Whenever we watch KimPau, DonBelle, KathNiel, LizQuen, or even during the times of Claudine-Rico, Judy-Piolo, Maricel-William, and Sharon-Gabby, we are like co-authors in their love stories. We root for them because we want to believe there’s hope in love. Love Teams fuel that hope and fantasy. Sa mundong puno ng trabaho, trapik, at problema, kilig is our sweet escape (In a world filled with work, traffic, and problems, stories of love are our sweet escape).”

Although Love Teams bring in sales and a loyal and passionate fan base, it can also be very limiting for the actors involved. For Love Teams, pairings with other actors are limited and if they pursue projects with a different actor, these artists often get bashed and painted like “villains” in their supposed love story.

Solenn Heussaff, an actress and entrepreneur, once spoke about the truth on Love Teams in an interview with GMA News, saying how being involved in such a pairing is “difficult” as it limits one’s growth as an artist.

"You want to act with different people because you learn from every new person you act with. But when your love team is too strong and you get a job where you have to act with someone else or you have to be the love interest of a different person, someone gets attacked," she said.

Liza Soberano, who rose to fame as half of the love team “LizQuen” with her on-and-off screen partner, Enrique Gil, also opened up about her experience being in a Love Team in an podcast interview with Korean singers Ashley Choi and Peniel. She talked about how actors were tested on projects and how once their tandem takes off, they are inevitably “shipped” by fans, which starts the Love Team frenzy.

“In Love Teams, you’re expected to be with just one person. We’re supposed to be ‘real’ and ‘reel’ and only work with each other throughout our careers.” Liza said. 

She also mentioned how they’re not allowed to reveal if they’re officially dating or worse, dating other people, as it’s their job to keep the people hungry for them to be actually dating. This incites excitement for their projects and encourages fans’ support. In turn, support means higher ticket sales, ratings, and more brand partnerships. 

“A successful Love Team can carry a network or production company for years,” Noreen said. “They’re truly a huge investment. The chemistry of a Love Team is the product, and if it clicks, it becomes a brand.”

Filipino Love Teams Through The Years

It may have its ups and downs but one thing is certain, Love Teams make us believe in love again. For a couple of hours or through a handful of episodes, we can live vicariously through these actors' love stories, making our days a little brighter, and our loads a little lighter. 

As long as we can keep that line clear between fiction and reality and respect the actors’ boundaries and their need to grow in their careers outside of their tandems, then Love Teams can be an enjoyable source of entertainment.

Why don’t we take a stroll down memory lane and see some of the most iconic Love Teams through the years that have made an impact in the Philippine entertainment scene? We’ve included some of their most popular works too, so feel free to check them out and watch a romcom…or two!

Nora Aunor and Tirso Cruz III

This phenomenal tandem drew much adoration from fans in the ‘70s. Some of their most successful movies include “D' Musical Teenage Idols” (their debut pairing in 1969), “Fiesta Extravaganza” (1969), “Young Love” (1970), “Nasaan Ka, Inay?” (1970), and “Guy and Pip” (1971).

Sharon Cuneta and Gabby Concepcion

Sparks definitely flew between Sharon and Gabby, and if there was a top Love Team in the 80s, it was most definitely them. They first starred in “Dear Heart” (1981), which became an instant blockbuster. The following year, when VIVA Films was established, they were paired up again for the film “P.S. I Love You,” which also became a box-office hit. This began Sharon's reign as the Box-Office Queen of Philippine Movies, a title she held until 1993. 

The two of them starred in a string of films together before getting married (yes, in real life!) in 1984, but unfortunately separated after three years. They have one daughter, KC Concepcion, who’s also an actress and showbiz personality. 

Jolina Magdangal and Marvin Agustin

These two got their start as part of the popular teen show “Gimik” (1996) and were the strongest Love Team on the show. One of their popular films is “Labs Kita...Okey Ka Lang” (1998), a friends-to-lovers story that has since become one of the most iconic love stories in Philippine cinema.

Claudine Barretto and Rico Yan

Even though their partnership was short-lived due to Rico’s passing in 2002, there’s no doubt that this real-life couple was the King and Queen of the ‘90s and will forever remain in our hearts as the pair that made us believe in love again. 

Their film “Got 2 Believe” was a box office success and was considered by critics as one of the greatest romance films of all time, and continues to be a blueprint for Filipino romance movies today. 

Bea Alonzo & John Lloyd Cruz

Their story began in 2003 when Bea, at only fifteen years old, was cast as a 20-year-old lawyer in the 2002 drama, “Tagal Kang Hinintay” alongside John Lloyd Cruz. This paved the way for a series of hit teleseryes and blockbuster films, including “It Might Be You” (2003), “Maging Sino Ka Man” (2006), and “One More Chance” (2007).

Marian Rivera and Dingdong Dantes

Marian and Dingdong’s team up in the adaptation of a Mexican drama series, “MariMar” (2007), set a record in Philippine television at that time with a 52.6 percent rating for its final episode. They also starred in the fantasy series “Dyesebel” (2008) before finally debuting on the silver screen in “One True Love,” which was, unsurprisingly, a big hit! 

The two are also an off-screen couple and have been married since 2014. Last year, not only did they star in one of the Philippines' highest-grossing films to date, "Rewind," but they also renewed their marriage vows in celebration of their 10th anniversary. See? Happy endings do exist!

Kathryn Bernardo and Daniel Padilla

Much like Jolina and Marvin, ‘KathNiel’ starred in a teen-oriented series called “Growing Up” in 2011, which paved the way for their primetime hit series, “The Princess and I" (2012-2013). 

Kathryn and Daniel proved to be one of the most enduring pairings on screen and even starred in one of the highest-grossing films in Philippine cinema, “The Hows of Us” (2018). Although no longer a tandem on or off screen, they surely cemented their status as one of the industry’s most beloved Love Teams.  

Nadine Lustre and James Reid

Dubbed as “Team Real” by their fans, ‘JaDine’ made fans swoon when they practically confirmed their off-screen romance at their Love Valentine Concert at the Araneta Coliseum in 2016.

Nadine and James had several music, film, and TV show collaborations, including their debut movie pairing in “Ang Diary ng Panget” (2014) and the highly-rated drama “On The Wings of Love” (2015).

Maine Mendoza & Alden Richards

Born from the country’s longest-running noontime show, “Eat Bulaga!”, this accidental Love Team broke TV ratings, Twitter trends, and ticket sales during its peak. There was a time when all people could talk about was “AlDub” and their popular improv soap called “Kalyeserye,” which many people tuned into during their lunch breaks.

Maine and Alden also starred in several films: “My Bebe Love: #KiligPaMore" (2015) and “Imagine You and Me" (2016), which was filmed in the city of love, Verona.

Liza Soberano and Enrique Gil

Liza and Enrique’s debut series, “Forevermore” (2014) was a massive hit, even breaking the record for the highest recorded national TV rating on Philippine television in 2015. 

This Love Team played many roles throughout their careers and starred in various romantic films from sweet rom-coms like “Everyday I Love You” (2015) and “Just The Way You Are” (2015) to heartbreaking dramas, such as “My Exs and Whys” (2017) and "Alone/Together” (2019). 

Belle Mariano and Donny Pangilinan

We’re adding a Gen Z Love Team to this list, and one of the more popular ones today is ‘DonBelle.’ 

They broke out as a tandem in the series “He’s Into Her” (2022), where they showed off their undeniable chemistry before following it up with “Can’t Buy Me Love” (2023). 

Looking for a new book to read? There’s a new novel hot off the press, and if you’re a fan of horror or speculative fiction, you’re going to want to sit down for this. 

“Head by the Ceiling” is a horror novel by Anthony Shieh that follows the story of a group of employees at a network company who are hounded by a series of murders. As fear takes hold, they begin to suspect that these horrors are far from coincidental. Each chilling event brings them closer to a horrifying truth — one far more sinister than they could have ever imagined. 

The Beat Asia got in touch with the Filipino-Taiwanese-Dutch author to pick his brain on his inspiration and influences for this bone-chilling tale. This marks the author’s debut in the genre, which he described as a “homecoming” after publishing a string of successful diverse books including “Death of a Loved One in the Time of Pandemic,” one of Philippine Inquirer’s Noteworthy Books of 2024; the #1 Amazon Bestselling BL (BoysLove) romance “White Mocha Americano,” and “VERGE” — a poetry collection about life at its breaking point. 

A true genre chameleon, Anthony enjoys experimenting with his writing and finding new ways to tell a story. But his latest book is a fulfillment of a childhood dream, having written his first horror story at only fourteen years old! The author expressed that while his previous novels explored different genres and improved his craft, they were also stepping stones that led him back to where he truly belonged: in the dark and mysterious world of the horror genre. 

In our latest exclusive, we’re diving into Anthony’s current magnum opus, his processes and influences, as well as how the genre has shaped his career as a storyteller. 

On Returning to Horror

Despite being his debut, “Head by the Ceiling” wasn’t Anthony’s first brush with the genre. The author had been a fan of all things horror at a young age, fostered by a love for horror films such as “The Exorcist” and “Friday the 13th: The Final Chapter.” His mother often brought him to their local video stores to rent Filipino horror movies like “Aswang” and “Shake Rattle and Roll,” which exposed him to the local tales. It was from there that his interest in the genre took root and led him to write his very first horror story, “Tormented,” when he was only fourteen years old. However, the author revealed an intriguing fact about where his fascination with the supernatural also comes from. 

“Beyond film, it also comes from personal experience. I have a 'third eye,' which opened when I was four years old. The first elemental I ever saw was a Kapre perched atop a coconut tree on Makiling St. At first, I mistook it for the PLDT Radio Light, but then I noticed two fiery red dots…eyes, glaring back at me. As I focused, its full silhouette emerged. This experience later became a key influence in my debut horror novel.”

Anthony also revealed that he’s gifted in palm reading, a skill passed down from his Oma in Taiwan to his mom — who also reads tarot — and then to him. It’s clear to see that the writer’s relationship with the genre is deeply rooted in his culture and family history, and how these ties to the unseen have shaped his perspective and his writing. 

When asked about his definition of horror, Anthony replied, “Horror has always been part of our lives. It’s stitched into our history, our fears, and even our Filipino DNA. From oppression and war to crime and the everyday dangers we face, it lingers in the background. It’s not just a genre, it’s something we all experience in different ways. More than just scares, horror reflects the world around us. It brings to light our anxieties, struggles, and hard truths. People don’t always give it the credit it deserves, but horror is one of the strongest forms of storytelling. It makes us feel, question, and see the world in a way no other genre can.”

With the release of his latest novel, Anthony likens it to a homecoming as he finally wrote a story that fully embraces horror — a genre he had always felt destined to write. It features LGBTQ+ characters, explores themes of friendship, love, and family, and even draws inspiration from Japanese folklore, yokai, and films like “Final Destination,” “Evil Dead,” “Pulse,” and “It Follows.” 

“‘Head by the Ceiling’ is the realization of that dream,” he told The Beat Asia. “It's an emotional rollercoaster with immersive world-building and intense, terrifying moments. One reviewer called it ‘a gory & nightmarish horror with great pacing, non-linear storytelling, and vivid, eloquent writing that adds to its cinematic feel.’ That’s exactly what I strive for: stories that play out like a film in your mind, pulling you in frame by frame.”

On Reinventing Storytelling

Debuting his first horror novel is a true milestone, indeed, but Anthony has been known for his craft for years, having released both prose and poetry books that showcased his versatility, wit, and talent as a writer. 

“Horror is my tribe, but I’ve always been the kind of writer who likes to explore. I’ve dabbled in memoir, dramedy fiction, and poetry. Always experimenting, always testing my limits. Each writing has pushed me to try something new, but no matter how much I explore, I always circle back to horror. Every story I’ve written has been part of that journey, pushing me further, sharpening my voice, and ultimately reinforcing that this is where I’m meant to be.” 

“I love writing both [prose and poetry], but at the core, I’m a novelist,” he added. “Poetry lets me capture emotions in snapshots; raw, introspective, and sometimes cathartic. But novels? That’s where I thrive. I love building worlds, shaping characters, and letting stories unfold in their own time. There’s something about the long form that allows me to dive deeper, to really explore the layers of a character or theme. A novel feels like a journey, and I love bringing readers along for the ride.”

Anthony also gave us a glimpse into his brainstorming and planning process, which is almost as intriguing as his palm reading talent! The author admitted to having taken inspiration from dreams and how he would sometimes wake in the middle of the night to jot down the details, which has shaped many of his stories, including “Head by the Ceiling.”

“My writing process is structured yet flexible. Some days, I focus on one novel, and the next, I might feel drawn to another. It all depends on my mood,” he shared. “While many say you should write daily, I disagree. I believe you should write when you feel like writing. Otherwise, you’ll just end up hitting the backspace button.”

The author also listed some impressive influences that have shaped his craft through the years. He admitted to gravitating towards novelizations and screenplays more, finding inspiration in works like “Alien” by Alan Dean Foster, Fede Álvarez's reimagination of “Evil Dead,” and Stephen King’s  “Carrie.”

He also listed some local favorites, explaining how horror in the Philippines is deeply rooted in culture and folklore. He expressed how he has so much respect for authors such as Dean Francis Alfar, Kenneth Yu, and Yvette Tan, whose passion and dedication to Philippine folklore and realism have contributed immensely to the reason why it’s still alive and thriving today. 

With a new book just released and a whole lot more in store — including his participation in an upcoming anthology and two more novels in the works (you heard it here first!), Anthony is shaping the Philippine horror fiction landscape one chilling story at a time, and we simply can’t wait to devour more of them! 

You can get “Head by the Ceiling” at National Book Store (NBS) branches nationwide and online at Anvil Publishing and NBS website, Shopee, and Lazada shops. You can also learn more about Anthony Shieh by visiting his official website and following him on Facebook and Instagram for updates on upcoming events and releases. 

In a world where art often bridges the tangible and the transcendent, Jezzel Wee’s works are experiences rather than mere objects. Drawing inspiration from shifting landscapes, the organic beauty of nature, and the rich artistic legacies of both Japanese and Filipino cultures, her work is a seamless fusion of intricate patterns and natural textures that transform clay into immersive, interactive installations that invite touch, movement, and exploration. 

Rooted in tradition while also deeply contemporary, Jezzel Wee’s ceramics are a story of noticing the small details and finding inspiration in the cliché. 

In our latest artist spotlight, Jezzel Wee talks about her journey into ceramics, learning from masters, and leaving a message of hope through her work. 

What led you to pursue ceramics as a medium?

I like the tactile quality of clay, and I was also drawn to the process of ceramics. It is very tedious, and it has risks, but at the same time, it has high rewards. 

I learned that you learned your craft from a Japanese ceramic artist. Can you share your journey in learning the craft?

I learned from Ryoji Matsumiya, owner and potter of Tsugaru Kanayamayaki in Aomori, Japan. In Tsugaru Kanayamayaki, they process their own clay, fire climbing (noborigama) and anagama wood kilns, and have studios that focus on the slab technique, wheel throwing technique, slip cast technique, jigger and jolly technique, and pressure mold technique. 

I was fortunate to have done and learned most of the techniques of production in Tsuguru Kanayamayaki. They also trusted me to make designs for them, I had to learn what designs were appealing to the Japanese market. 

The biggest challenge for me was when they assigned me to be their chief designer. One of the last projects I made for them was the lamp design production for Hoshino Resorts in Aomoriya, Misawa, and Aomori, Japan. 

Strict discipline and respect for the art and craft are needed.  

Who or what are your biggest influences in your work?

I cannot name a specific person who influences my work because all my mentors, potter friends, and artist friends inspire me to do well in my work. It may sound cliché, but nature and my surroundings have the biggest influence on my work. 

How would you describe your style of aesthetic in ceramics?

I think my style/aesthetic in ceramics is a blend of Japanese and Filipino patterns and influences. 

You find inspiration in the complexities of organic forms and relate them to changing landscapes. Can you share specific examples of natural elements that have significantly influenced your recent works?

For the “Liberating the Chawan” show last 2022 in Pinto Art Museum, most of my works were inspired from growing moss and marine life. Another example is my work for “Weighing Seeds, Pulling Through” at Gravity Art Space, the installation was inspired from Kapok pods and seeds that I often see when I walk around UP Campus. 

I like the idea on how nature can present itself in a broad perspective and as we spend time immersing ourselves, we notice the small details that completes the whole. I guess those characteristics significantly influence my work. 

How did your involvement in the Art Fair PH 2025 come about?

It started when Eya Beldia and I were having a conversation about an exhibition that I wanted to do. Ms. Dawn Atienza of Tin-aw Art Projects and Eya Beldia told me last September that they proposed the idea to Art Fair PH 2025 and got chosen for their special projects. 

What does it mean to you to have been a part of this event?

It meant that I could show another perspective or way to appreciate ceramics as an art form. 

Can you describe your work, “Pagbulong”?

“Pagbulong” is a site-specific ceramic art installation where the viewer is encouraged to hold and engage with the pieces. 

Each ceramic doll is a bell that they can gently shake after they whisper their wishes. As they hold and shake the ceramic doll, a ringing sound will be heard, and other dolls will resonate the same sound. 

What motivated you to create interactive art, and how do you think it enhances the connection between the artwork and the viewer?

For the past few years, my works have always been interactive and immersive; I wanted to create a space where viewers are invited to engage with the work. I think I want to share my experiences with the viewers on how I view the world. 

The tactile or the sense of touch grounds us to be at the present, the sound being produced prompts us to pay attention to the work or what’s in front of us. I think that the time spent with the work creates this intimate connection between the work and the viewer.

What did you hope to convey to the viewers through your exhibition, “Pagbulong”?

I hoped that they had the time to slow down and take the opportunity to say wishes for themselves, for others, or even our country. To realize that each and every one of us carry that wish or hope for things to be better. 

How do you see your work evolving after Art Fair Philippines?

My work will always be grounded in creating experiences for the viewers, to connect with themselves and be more self-aware. I think I will explore more on how to create site-specific works that will engage viewers.

Do you have any upcoming collaborations or exhibitions your audience can look forward to?

As of now, the bulk of the preparation was for Art Fair Philippines. Maybe a few group exhibitions in the 3rd or 4th quarter of the year. 

Learn more about Jezzel Wee and her works by following her on Instagram.