David Kaufman Stone

David Kaufman Stone is a contemporary artist of Filipino-Spanish descent whose work spans abstract painting, photography, mixed media, and sculpture. Educated at De La Salle University's College of Saint Benilde in Manila and a postgraduate of the University of Oxford, he brings a rare combination of academic rigour and creative freedom to everything he makes.

Beyond the canvas, Kaufman is the founder of one of the Philippines' most respected architectural stone companies — a business built over 30 years on collaboration with the country's leading architects on some of its most prestigious private, commercial, and institutional projects.

Today, he maintains active art studios in both Manila and Madrid — exhibiting across the Philippines, Spain, Germany, and Indonesia — carrying the pulse of Filipino identity into galleries around the world.

His work does not ask you to simply look. It asks you to feel.

Following the success of his exhibition at ARTMUC in Munich from May 1 – 4, 2025, Filipino artist David Kaufman Stone continues to bring the pulse of Manila’s streets to the European art scene.  

Blending intimate street photography with bold expressionist abstraction, Kaufman transforms everyday Filipino faces into emotionally charged canvases that resonate across cultures. His work bridges continents – from Tagaytay to Madrid to Munich –  while remaining deeply rooted in Filipino identity and human connection.

In this Q&A, Kaufman reflects on vulnerability, authenticity, artistic chaos, and what it means to carry the stories of Manila’s streets into European galleries.

Q. You had a Munich exhibit that introduced expressionist abstraction as a fresh perspective on Filipino art. What elements of Manila’s street life found their way into your canvases here in Germany?

DKS. My artistic process involves intimate street photography, where I capture the essence of Filipino individuals within their vibrant context. Each photograph serves as a crucial reference during my painting process. I have always made it a point to remember each person I have encountered, along with the unique moments shared with them. Consequently, every painting I create is a tribute to the Filipinos I deeply respect and admire. I find them to be the most compelling subjects in the world.

Q. In “Naked Streets and Naked Distortion”, vulnerability seems to echo through your titles. What do you believe gets “exposed” in your art when placed in a European context like Munich?*

DKS. The final artwork represents only half the story. When I present the painting alongside the photograph of the person who inspired it, the narrative becomes complete. While my subjects often include those living on the streets or facing hardship, I aim not to showcase their suffering. Instead, I focus on celebrating their humanity and the stories etched into their faces. My intention is not to make political or moral statements; rather, I seek to capture their inherent beauty.

Q. Your work often dances between “structured chaos” and emotional rawness. How do you decide when a piece is finished — or is it more about surrendering to the unfinished?

DKS. I intentionally leave some areas of my work unfilled and let them resonate with me. When I overwork a piece in an attempt to achieve a photographic level of detail, the result often feels compromised. I embrace the rawness of the artistic process, allowing a single stroke to fade naturally, rather than concluding abruptly. This approach invites an element of randomness, akin to the splashing of paint, enriching the artwork with an organic quality that reflects the chaos I often encounter in my artistic process.

Q. From Tagaytay to Madrid to Munich, your journey spans continents. What part of your Filipino identity feels most challenged — or most amplified — when creating abroad?

DKS. My Filipino identity often finds itself both challenged and amplified when creating abroad. Living in different countries exposes me to diverse artistic perspectives and methods, which can sometimes feel at odds with my cultural roots. Yet, this very contrast serves to amplify my identity, as I draw more deeply from my experiences, traditions, and the essence of my homeland. Each piece I create abroad is infused with the richness of my Filipino heritage while also evolving through the new contexts I find myself in, creating a unique blend that reflects both worlds.

Q. Your transition from stone entrepreneur to full-time artist mirrors the tension between permanence and spontaneity. How has working with stone informed your approach to painting and mixed media?

DKS. My background in working with architectural stone taught me the importance of precision, structure, and permanence, as every project comes with stringent design specifications and zero tolerance for error. However, in my painting and mixed media practice, I relish the spontaneity of creating art myself. While I no longer work with stone in that capacity, the principles of commitment and foundational structure I learned inform my approach to composition and technique in painting. Adapting to new environments, I have embraced materials like spray paint and various art supplies that differ from what I used in Manila, yet I continue to paint portraits of Filipinos, ensuring that my work is a continuous thread connecting my artistic journey across the globe.

Q. If one of your pieces from this exhibit could speak in the dialect of Manila’s streets, what would it say to a German viewer encountering Filipino abstract art for the first time?

DKS. If one of my pieces could communicate in the dialect of Manila’s streets, it would convey the message that Filipino art deserves recognition as cutting-edge and innovative, parallel to any Western contemporary art. There is often a misconception that Filipino artists are solely focused on traditional themes like classical family portraits. My work challenges that stereotype, showcasing the vibrant and sometimes unconventional spirit of Filipino creativity. I hope viewers can see that we also embrace the chaotic beauty that comes with artistic exploration, just like any artist in the Western art scene.

Q. Having studied in Manila and Oxford and painted in Madrid, you embody a true cultural hybrid. How do you navigate the risk of losing authenticity while embracing global influences?

DKS. I always bring my photographs of Filipino people wherever I paint. I no longer photograph Spanish individuals, as my close-up style does not resonate with them. I focus solely on intimate portraits, often taken just 12 inches from their faces, ensuring my work remains deeply personal and authentic.

Q. What was the most unexpected reaction or interpretation you’ve received from a non-Filipino audience about your work - and how did it reshape your view of that piece?

DKS. It is refreshing when audiences connect with my art without needing words. Regardless of our cultural differences, the artwork creates a shared understanding. This connection makes me feel like a brother to viewers, highlighting our common humanity.

Q. The titles of your exhibits — Tag 4120, Naked Streets — evoke codes and intimacy. What role does naming play in bridging the abstract with the personal in your art?

DKS. I choose titles that resonate visually and meaningfully with what I wish to express. A fellow artist once connected with one of my titles, highlighting our shared experiences despite our different backgrounds. Naming is a bridge that connects my work to others.

Q. As a mentor figure to young Filipino artists eyeing the global scene, what is one misconception about “making it internationally” you wish you could dismantle through your own experience?

It is crucial for artists to find and stay true to their own artistic voice, regardless of external opinions. Financial stability is key, as many artists struggle to make a living. A secure income allows you to pursue your art freely without compromise, especially since showcasing work can be costly both internationally and at home.

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Connect with David Kaufman:

Email: kaufee2000@gmail.com

WhatsApp: +639175183025

Instagram: @davidkaufmanstudio

Facebook: David Kaufman Stone Art