Waking Dreams - Artworks by Wiki Anecito

Waking Dreams - Artworks by Wiki Anecito His works revolve around the surreal, blurring the lines of reality and fantasy.

His depiction of the world and art is defined by a bizarre mix of elements, seemingly nonsensical but utterly beautiful.

"graduate na ko"30" x 24"oil on canvas“Graduate Na Ko” expresses the triumph of growth over struggle. It tells a story o...
28/01/2026

"graduate na ko"
30" x 24"
oil on canvas

“Graduate Na Ko” expresses the triumph of growth over struggle. It tells a story of breaking free—from ignorance, oppression, or a painful past—through education, hope, and human connection. Graduation here is not just an academic milestone; it is a declaration of freedom and a rebirth into a new life of possibility.

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" tiktik-tok "2 x 3 feet, oil on canvas"Tiktik-Tok" is a smart satirical piece that fuses Philippine folklore with moder...
29/07/2025

" tiktik-tok "
2 x 3 feet, oil on canvas

"Tiktik-Tok" is a smart satirical piece that fuses Philippine folklore with modern digital culture, particularly TikTok, to highlight the performative, sometimes disturbing, evolution of identity in the age of social media. It turns a folk monster into a metaphor for the hyper-curated digital personas we push on the next generation—and how easy it is to become something monstrous without ever realizing it.

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"tikbala". 2 x 3 feet , oil on canvas"Tikbala" is a clever visual pun and social commentary that fuses the mythical c...
27/07/2025

"tikbala".
2 x 3 feet , oil on canvas

"Tikbala" is a clever visual pun and social commentary that fuses the mythical creature tikbalang with the infamous "tanim-bala" (bullet-planting) scandal that plagued Philippine airports. The title is a wordplay: “Tikbalang” becomes “Tikbala,” dropping the last syllable to emphasize the “bala” (bullet), which is central to the painting’s message.
In the painting, a boy wears a horse mask, symbolizing the tikbalang, a creature often seen as a trickster in Filipino folklore. His hands are raised, showing surrender or helplessness — a universal gesture of someone falsely accused or defenseless.
A hand offers or presents a bullet toward him — this represents the literal planting of evidence. The hand could be interpreted as symbolizing authority or airport personnel, but since it’s just a hand, it also conveys anonymity and corruption, evoking how the perpetrators in the tanim-bala cases often escaped accountability.
"Tikbala" uses surrealism and cultural references to tackle a serious modern issue. By blending mythology with political critique, the painting exposes how even the innocent — especially the vulnerable — can be framed, silenced, or scapegoated. It’s a haunting, symbolic piece on how corruption robs people of their dignity and freedom, all under the pretense of order.

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" kaprend "2 x 3 feet , oil on canvas "Kaprend" is a witty, charming visual pun that reimagines the kapre, a fearsome F...
26/07/2025

" kaprend "
2 x 3 feet , oil on canvas

"Kaprend" is a witty, charming visual pun that reimagines the kapre, a fearsome Filipino folklore creature—as something entirely different: a friend.
Through wordplay and storytelling, the painting dismantles fear and hierarchy, replacing the myth of the monstrous with an image of friendship, connection, and childlike defiance.
“Kaprend is a lighthearted handshake between fear and friendship. By reimagining the kapre not as a monster, but as a ‘ka-prend or ka-friend,’ I wanted to explore how children naturally build bridges—where adults see walls. In this painting, a handshake becomes a small revolution: fear fades, laughter takes over, and stories become tools of connection, not separation.”

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" mangkukulang "2 x 3 feet , oil on canvas "Mangkukulang" is a clever and whimsical parody artwork that plays on the wor...
26/07/2025

" mangkukulang "
2 x 3 feet , oil on canvas

"Mangkukulang" is a clever and whimsical parody artwork that plays on the word "mangkukulam" (Filipino for witch or sorcerer) by transforming it into "mangkukulang"—a childlike version that implies kulang pa or kulang pa sa barya (still lacking coins).
The piece mixes Filipino folklore with modern childhood innocence, turning a feared figure (a mangkukulam) into a begging little sorcerer on a candy mission
“Mangkukulang" is a lighthearted take on how children master the magic of persuasion. By dressing as a sorcerer and asking for more coins, this child becomes both beggar and enchantress, buyer and spellcaster. The piece is a visual pun—turning the feared ‘mangkukulam’ into a harmless, candy-driven hustler. It’s a tribute to Filipino wordplay, childhood imagination, and the irresistible charm of ‘isa pa.’”

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" lobo "30" x 40" , oil on canvas* send us a private message for purchase or inquiry
26/07/2025

" lobo "
30" x 40" , oil on canvas

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" 50 shades of joe "50 pcs of 8"x 8" , oil on canvasA collection of 50 portraits of José Rizal, each wearing a distinct ...
26/07/2025

" 50 shades of joe "
50 pcs of 8"x 8" , oil on canvas

A collection of 50 portraits of José Rizal, each wearing a distinct pair of eyeglasses or sunglasses, displayed in a grid of 8x8 inch canvases. Each piece explores how what we wear over our eyes changes how we are seen—and how we see the world.

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"uncle Luna"2 x 3 feet , oil on canvas"Uncle Luna" is a bold and ironic parody of the iconic “Uncle Sam Wants You” post...
26/07/2025

"uncle Luna"
2 x 3 feet , oil on canvas

"Uncle Luna" is a bold and ironic parody of the iconic “Uncle Sam Wants You” poster—this time featuring General Antonio Luna pointing directly at the viewer. the image becomes a potent mix of patriotism, sarcasm, and historical commentary. General Luna wears a sharp blue coat, reminiscent of his actual uniform but stylized with theatrical flair. Instead of the American flag motifs, he sports a crisp red bow tie, adding that touch of Uncle Sam’s formal boldness, a white shirt underneath—perhaps symbolizing purity of ideals, And most strikingly, a top hat decorated with the three stars and a sun from the Philippine flag, replacing the stars-and-stripes. The sun glows golden, slightly exaggerated, like a rising emblem of revolution.
“Uncle Luna” is more than parody—it’s a visual call to conscience. It’s Luna staring from the past, finger raised not in invitation, but in challenge. It's asking:
“Will you be part of the fight—or part of the silence?”

"professor A"2 x 3 feet , oil on canvas"Professor A" is a sharp, witty, and thought-provoking parody that reimagines Apo...
26/07/2025

"professor A"
2 x 3 feet , oil on canvas

"Professor A" is a sharp, witty, and thought-provoking parody that reimagines Apolinario Mabini, the “Sublime Paralytic” and brain of the Philippine Revolution, as Professor X from X-Men. It's not just a visual gag—it’s a clever fusion of history, pop culture, and national identity that reframes Mabini’s physical disability as a symbol of intellectual power and moral authority.

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" gregoria de mona lisa "2 x 3 feet, oil on canvas"Gregoria de Mona Lisa" is a parody of Leonardo da Vinci’s Mona Lisa,...
26/07/2025

" gregoria de mona lisa "
2 x 3 feet, oil on canvas

"Gregoria de Mona Lisa" is a parody of Leonardo da Vinci’s Mona Lisa, replacing the enigmatic Lisa Gherardini with Gregoria de Jesús—the Lakambini ng Katipunan and wife of Andres Bonifacio. This reimagining infuses the most famous portrait in art history with rich Filipino revolutionary symbolism, while preserving its signature mystery.
Gregoria is seated in the familiar pose—hands gently crossed, body slightly turned, and eyes subtly watching the viewer. But her expression differs: instead of the vague smile of the original Mona Lisa, Gregoria bears a stoic, quiet strength, with a hint of tired resolve in her eyes. It's not flirtation—it’s memory, pain, and purpose.

" tampuhan "3 x 4 feet, oil on canvas"Tampuhan" is a parody of Botticelli’s The Birth of Venus, transforming the classic...
26/07/2025

" tampuhan "
3 x 4 feet, oil on canvas

"Tampuhan" is a parody of Botticelli’s The Birth of Venus, transforming the classic image of beauty and myth into a deeply Filipino—and sharply satirical—commentary on love, gossip, and geopolitical tension.
Josephine Bracken as Venus Standing gracefully on a large seashell, Josephine Bracken is reimagined as Venus, but instead of divine radiance, her face is subtly pained, distant, and cold—she’s clearly in the middle of a tampuhan (lover's quarrel). Her body posture is reserved, arms crossed or slightly hugging herself, as if caught between pride and vulnerability. She’s not basking in beauty—she’s feeling bad, probably after a fight with her lover, José Rizal.
On the right side, José Rizal stands with a worried expression, gently holding a cloth extended toward Josephine—an act of concern and reconciliation. His body leans forward, not grandly like a deity, but humbly, as a man trying to bridge a silent gap. His clothes might be slightly windblown, his eyes reflecting regret and softness.
On the left side are Tolits and Marites, two nosy neighborhood types who break the fourth wall of classic painting decorum. Their inclusion adds a comedic, chismosa flavor, grounding the high art parody into Filipino street-level realism. They represent how even private tensions become public stories in our tightly knit culture.
Far in the horizon, almost like an afterthought—but intentionally placed—is a Chinese naval ship, subtly invading the peaceful sea. It's not the focus, but it’s there, intruding. Floating nearby is plastic waste—plastic bags and bottles polluting the sea. These small background elements are sharp social critiques, hinting at Territorial intrusion in the West Philippine Sea .Environmental neglect and the dumping of garbage in national waters.
Together, they form a silent storm brewing behind the personal drama, showing how both intimate and national relationships can be strained by larger forces.

It is now displayed at the lobby of AFP Camp Aquino Station Hospital, Tarlac City .

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" ikaw! "3 x 4 feet, oil on canvas"Ikaw!" is a biting, satirical parody of Michelangelo’s The Creation of Adam, but inst...
26/07/2025

" ikaw! "
3 x 4 feet, oil on canvas

"Ikaw!" is a biting, satirical parody of Michelangelo’s The Creation of Adam, but instead of God and Adam, the two figures are General Antonio Luna and Emilio Aguinaldo, reimagined in a loaded, historical Filipino context.
Aguinaldo lies on the ground in the pose of Adam—half-reclined, hand lifted casually, almost unsure—symbolizing inaction, denial, or even complicity.
Floating in the sky, in place of God, is General Luna, but instead of a benevolent creator, Luna’s face is filled with rage, betrayal, and grief. His hand is stretched aggressively, fingers pointing downward, not to give life—but to accuse.
The finger of Luna doesn't extend to give power—it dramatically points straight at Aguinaldo, capturing the explosive moment of confrontation: “Ikaw!” (You!)
This painting becomes a powerful and provocative commentary on the internal betrayal that haunted the Philippine Revolution. While Luna was known for his discipline and nationalism, his assassination remains shrouded in political intrigue—many point to Aguinaldo's inner circle, or Aguinaldo himself, as the orchestrators.
By parodying The Creation of Adam, the painting mocks the false sanctity of leadership—suggesting that instead of being a giver of life, Aguinaldo may have been the taker of a patriot’s future. It subverts the original religious message and turns it into a moment of historical accusation.
The title “Ikaw!” cuts deep—it's not just Luna’s voice, but the echo of a betrayed nation questioning its supposed leaders. The painting forces the viewer to confront an uncomfortable truth: sometimes, revolutions are destroyed not by enemies, but by their own leaders.

It is now displayed at the lobby of AFP Camp Aquino Station Hospital, Tarlac

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