Artist based in Brooklyn, NY and Manila, Philippines
Raya Simpao, Portrait of the Artist
Tell us about yourself, what's your background?
I was born and raised in Manila, Philippines. I didn't necessarily come from an arts background, neither of my parents were artists, though they both had appreciation for it. Up until the 6th grade I was homeschooled by my mom (alongside my 3 brothers), which I do think largely informed my relationship to art and image-making through how flexible and open our everyday learning was. I drew a lot and my mom encouraged it. Drawing made its way into science, math, history, etc.
Pool Fight 2025 Acrylic and colored pencil on canvas 36 x 40 in
So it quickly became the default mode in which I was discovering, communicating, and placing myself within the world. My dad also played a big role in introducing me to the Filipino art scene, taking me to local art shows. Although I didn't really understand what it meant to pursue a career in arts until much later. Maybe I still don't fully understand. I applied to art schools in the US very excited at the thought that art could be a sustaining life practice. I am still very excited about that. I think it was a year into art school that I was fully convinced of what art could do, and what it has done.
3 women on dates 2025 Acrylic and colored pencil on canvas 36 x 32 in
“I am particular about how I want the figures [in my crowd scenes] to interact and exist next to one another. Everything remains very flat, architectural, and kind of diagrammatic. I'm trying to paint like ... someone who's thinking about the moment with some separation ... We are equal distance from all these people and things. It's very spatially reminiscent of Persian miniatures, which I love looking at.”
Left: Heaven 2026 Acrylic and colored pencil on canvas 13 x 14 in. Right: Love you a lot 2026 Acrylic and colored pencil on canvas 40 x 48 in
What are you currently working on and where did the inspiration for it come from?
I've been making a lot of crowd paintings. Gatherings, big and small interactions in the streets, parties, clubs, and bars. It is admittedly what occupies a considerable part of my mind as someone in their 20s. This current fixation might stem from a lot of larger questions I have about society, race, gender, and culture. These questions feel nearly impossible to look directly in the eye or all at once through painting, so I am trying to work nearby it and chip away at it.
People I know 2025 Acrylic and colored pencil on canvas 32 x 32
Within these particular social settings, it's an interesting when you realize that all everybody is doing is looking at each other! I find myself wanting to freeze these moments, to be aware of who is interested in who, who is speaking to who, who's not getting spoken to. So that's kind of what these paintings are. It's an opportunity to look a little closer, for a little longer, to hopefully understand a little more. Especially since I'm approaching a lot of unfamiliarity -- rooms where I am not sure where to stand, people that look different from me, languages and signals I don't understand. I think instincts and gut feelings are important but not always right. To paint it is to spend time and in spending more time with something, I might learn how to care for it a little better.
The News (Diptych) 2025 Acrylic and colored pencil on canvas 24 x 30 in each
Innovation does not only happen in the field of technology — it occurs everyday in a creative practice. What do you do for inspiration?
I am always aiming to engage in a more active and intentional seeing as I go about my day, meet people, and speak and listen to others. I think inspiration can come from simply being aware of and having consideration for one's surroundings, whether that means who you're sharing the room with or what it is that you're sitting or standing on.
Endings 2025 Acrylic and colored pencil on canvas 20 x 22 in
I'm a very sensitive person and when I feel something I try to pursue it even more, to get to the root of it or see what else could come out of it. So oftentimes I'll see or experience something-- a person, an interaction, a pattern, that'll trigger a certain curiosity. I allow myself to keep thinking about it, work through it, and learn more about myself and the world in the process.
People I know 2025 Acrylic and colored pencil on canvas 32 x 32
Describe your practice and process. Where do ideas start for you? In the studio or being in the world?
Both! I think the studio and outside are reflexive. Just like making and experiencing. I interact with things outside of the studio and I paint as a way of spending more time with it. I really love painting. The actual action of doing it is so enjoyable to me. And of course I learn a lot from it. So that makes me eager to keep discovering new things in the world so I can go keep painting. I like to think I am just as excited to arrive at the studio as I am to leave it.
Initial stages of drawing
How do you make your work, does it start with a sketch?
It starts with a lot of memories of maybe a place, a group of people, a shared moment or activity. Sometimes I'll have photos of it, sometimes not. I'll always have a general idea of what space I'm going for. I sketch a lot to figure out the composition, especially if it's a more complicated crowd scene. I am particular about how I want the figures to interact and exist next to one another. Everything remains very flat, architectural, and kind of diagramatic. I'm not trying to paint like someone who is present in the moment with the people, but rather someone who's thinking about the moment with some separation from it. I am privileging myself and the viewer with a very intentional perspective. We are equal distance from all these people and things. It's very spatially reminiscent of persian miniatures, which I love looking at. Or even the online virutal games I spent a lot of time on as a kid. But yes, as I sketch and refine, I'm trying to be as specific as possible about what I see, to point to things that are recognizable and from reality.
Work in progress, studio view
Many artists live by their routines and rituals, what do they look like for you?
I just moved to New York, so I'm a little disoriented right now. I'm trying to figure out a routine that works for me here. I can only really paint during the day, night time is for sleeping or going out. I always listen to music, all kinds of music. To be honest I feel very cool painting with music. If not listening to music I'll be talking to friends, either on the phone or in the room with me. People are always welcome to be in my studio with me. Overall I don't think I'm too particular. I try to be open and adaptable because I think as a young artist my working conditions are always subject to change.
Left: Work in progress. Right: Spring 2026 Acrylic and colored pencil on canvas 40 x 48 in
Who are your biggest influences?
I look at a lot of modern and contemporary figurative painters, Alex Katz, David Hockney, Salman Toor, Kerry James Marshall, Coady Brown, to name a few. Some people tell me I need to be looking at older artists and it's true. I think there's something valuable there that I have yet to unlock. But generally I think a lot about my relationship to these figurative painters and figurative paintings in general. I find them to be very accessible for people who either look at a lot of art or none at all. Seeing yourself, seeing other people, or simply seeing something recognizable seems to be an easy way for an audience to enter the painting. I hope for my paintings to be inviting in that way.
Are there books or films that are an important source of inspiration?
Sometimes the content of the film and literature I engage in might inspire a painting idea. But generally I am more curious about how those two mediums approach subject matter. With writing or video I feel that there is a sort of directness you can achieve that I am still trying to figure out with my work. The experience of seeing something develop, unfold, and change in front of you sometimes feels exclusive to these mediums, but I think you can get at it with painting too.
How will Innovate Grant contribute to your practice?
I'm extremely grateful to accept this grant and alleviate some of the stress of material costs. With really ambitious painting ideas there always comes both physical and financial constraints. There's always a conflict between the practice of consistent exploration and risk-taking with the reality of how much it can cost. We often have to be precious with what we have. It's always exciting to have the resouces to be a litte less precious, to experiment more, to make some bad paintings. I'm also very happy to be seen, to feel like there is potential and a shared excitement in what I am doing. It motivates me to keep going.
Studio painting, 2026, Acrylic on canvas, 40 x 36 in
What is the best piece of advice you’ve been given?
I took a color class at RISD with Bill Miller. He once told me that when it comes to figuring out one's subject matter, it's very simple: go out into the world and look around, and whatever's looking back at you, that's your subject matter.
What is the best advice you would give to other artists?
My cousin who makes music once reminded me that artists are in the business of caring. It's our job to care about things! We have a particular vision and do the things we do to get as close to it as possible. That's caring. It's a really great thing to do, and it's a skill that needs to be exercised in painting and in life.
Installation view
Stay up to date with Raya Simpao
Website rayasimpao.com
Instagram @rayasimpaoart