Arts & Culture
A New Getaway: Mactan Cebu International Airport’s Terminal 2
Finally launched to the public last month, the new world-class terminal of Mactan-Cebu International Airport is poised to connect Cebu to the rest of the world.

Finally launched to the public last month, the new world-class terminal of Mactan-Cebu International Airport is poised to connect Cebu to the rest of the world.
Its inauguration celebration was attended by President Rodrigo Duterte, and a number of prominent Cebuano personalities who were all curious about the new terminal. It officially opened its doors on July 1, and has since seen the opening of a number of new direct routes.
Touted as the country’s only resort airport, the MCIA Terminal 2 is a lifestyle destination all its own. The design is a collaboration between the Hong Kong-based Integrated Design Associates, and top Filipino interior design and architecture duo Budji Layug and Royal Pineda.
The terminal features a series of 15-meter high arches that evoke the image of waves, a fitting homage to the seas surrounding Mactan Island. Supplied by the European company Rubner Group, each arch was shipped in one piece and created with wood from a sustainable supply.
More importantly, the new terminal will also serve to highlight local Cebuano talent—world-renowned designer Kenneth Cobonpue is coming in to create pieces for the interiors, while celebrated fashion designer Cary Santiago designed the airport’s staff uniforms.
On his end, Kenneth is excited to create a world-class terminal with his frequent collaborators Budji Layug and Royal Pineda, and believes the design will make history.
“We are hopeful that this is going to be the best airport in the country.”
The aesthetic elements aside, it’s clear that efficiency was a top priority in coming up with the design. A two-level forecourt segregates the Arrivals and Departures area. There are 48 check-in counters, which are expandable to 72, and provisions for seven passenger boarding bridges. It’s also equipped with 12 escalators and 15 elevators, facilitating the easy movement of passengers, especially persons with disabilities.
To further enhance customer service, there will be a premium lounge at the International Departures area. Passengers who are either leaving or coming can enjoy a number of in-terminal activities, or visit the new retail and dining concepts. There’s even the option of enjoying Cebu’s famous lechon in one of the stalls at the terminal.
Although it’s not yet functional in its entirety, and we hear there are processes that need to be streamlined, we’re extremely proud to have such a monumental gateway in Cebu. Its towering facade of curves and glass is a promise—one of progress, development, and bringing the rest of the world a little closer to home.
This is an excerpt taken from the Zee Digital Vol. 1. To read the full story, download your copy now at www. zee.ph!
Arts & Culture
Chaos and Clarity: Zen Aesthetic in Oj Hofer’s Art

by Jing Ramos |
Oj Hofer, our fashion contributing editor, is a Fine Arts graduate from the University of the Philippines. Though he began painting at the age of eight, his artistic journey took a transformative turn in 2013. While volunteering as a costume designer for Siddhartha: The Musical, he encountered Venerable Master Hsing Yun’s One-Stroke Calligraphy, sparking a deep devotion to Japanese sumi-e painting and kanji calligraphy. Over the years, he refined his craft, using his art to share the Dharma through exhibitions while supporting the Hsing Yun Educational Foundation. In 2022, his spiritual path deepened at Nan Tien University, where he embraced Zen and Humanistic Buddhism, shaping his artistic philosophy.

“Plum Blossoms in Moonlight.” Serigraphy on abaca.
In his recent works, Hofer merges traditional calligraphy with serigraphy, drawing inspiration from his friend Charles Lahti—an internationally recognized New York-based painter and printmaker. Lahti, known for his collaborations with post-war American artists like Robert Rauschenberg, Donald Judd, Andy Warhol, and LeRoy Neiman, introduced Hofer to silkscreen techniques. Through a workshop Lahti conducted in Cebu—arranged by their mutual friend Greg Urra—Hofer integrated silkscreen into his Zen artworks, particularly those on abaca.

“The Circle of Harmony” Serigraphy and Calligraphy on abaca.
Hofer’s cross-disciplinary approach challenges conventional Zen aesthetics. His layered paintings on abaca may seem far from tranquil at first glance, but closer contemplation reveals a meditative core. His serigraph of an Enso circle, for example, initially appears chaotic, filled with Tang Dynasty poetry and overlapping, repetitive forms. Yet, by focusing on a single calligraphic element, the viewer experiences a moment of clarity—a glimpse of awakening within the visual complexity.

“Monkey Mind” Serigraphy and Calligraphy on abaca.
Even more engaging is his diptych Monkey Mind. At odds with the traditional Zen emphasis on negative space, this piece is deliberately busy, reflecting the restless nature of the mind. A distracted viewer may struggle to find a focal point, but one attuned to emptiness and presence will perceive clarity amidst the seeming disarray.

Ink and intention—creating calligraphy in support of one of my advocacies.
By fusing Zen philosophy with the discipline of serigraphy, Hofer invites his audience to look beyond surface impressions and discover stillness within movement, balance within complexity. His art does not merely depict Zen—it embodies the paradoxes at its core, offering a path to mindfulness through the act of seeing and the experience of doing.
Arts & Culture
What is Sappia? The Rice Myth Goddess of Bohol Who Helped Feed the People During a Great Famine

by Emma Gomez
The story began when the people of Bohol started to experience hunger and famine. All the livestocks were inedible and the fields were dried out leaving only weeds planted on the ground. The people prayed to the goddess of mercy, Sappia, to ask for food.

Sappia, the rice myth goddess of Bohol
Sappia, from the heavens, heard the cries of the people. She saw the dense population of weeds and offered to help them. Sappia thought of nourishing the weeds to be edible and healthy for the people of Bohol. Straightaway, she sprinkled the weed with milk from her bossom. She emptied each breast until blood came out. Before she left, she whispered to the weeds that they may be nourished and be able to feed the people.
When harvest season came, the people of Bohol quickly gathered the nourished weeds. They observed that the ones sprinkled with milk were white, while the other were red. They called the new plant rice and they replanted these in honor of Sappia, and for the people to devour.
Arts & Culture
Kimsoy’s Canvas of a Lifetime in Full Display

by Diana Gillo
There is nothing more fascinating than seeing an artist’s lifetime of work in one room. Such is the experience in Jose “Kimsoy” Yap’s third solo exhibit entitled “Kimsoy: Episodes of Mastery,” at Galerie Raphael Cebu. This serves as the truest form of homage to his enduring journey, showcasing works that span over decades.

Kimsoy with his student and muse, Zhara Rivera Mercado, at the entrance of Galerie Raphael
The exhibit speaks greatly of Kimsoy’s evolution as an artist, with his shifting mediums and remarkable variety of subjects. His creations range from heartfelt portraits of individuals he encountered along his journey to detailed landscapes inspired by the different walks of his life. The room’s layout carries the weight of his years of craft with one wall lined with pastels, another with watercolors, and another with oil painting.

As the River Flows Onward by Kimsoy Yap 2020 | Oil on canvas | 82×48 inches
The exhibit transcends beyond just the commemoration of Kimsoy’s masterful periods. It wanders more into a sense of intimacy reflecting Kimsoy’s life’s journey—from his roots as a young boy in Negros Oriental, through his pursuit of greater artistic mastery in New York, to his prominence in Cebu’s art scene. All his work freehanded, created both with his left and right hand, depicts the ways in which we all leave traces of ourselves in our work and in the world.

A Friend of Mine 1979 | watercolor on paper | 24×18 inches

In a Relaxed Mood 1977 | water color on paper | 16×19.5 inches
The opening ceremony featured Ambassador Jose Mari Cariño, alongside special guests Ivy Ang Gabas, Paolo Li, Angbetic Tan, Laurie Bouquiren of the Visayas Art Fair, and Valerie Go of Galerie Raphael Cebu. The exhibit is open until March 21, 2025.
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