STYX is a metaphor, an attempt to bridge our world and the Greek mythology, with for final ambition the creation of a new place. The starting point is EDSA, this main highway which crosses Metro Manila, this urban nightmare, which prints its rhythm in the entire city. EDSA can be perceived as a pure violence, and, from this perspective, it is possible to build a piece of work. STYX uses the myth of the Greek river which forms the boundary between Earth and the Underworld. The river is the passage imposed between both worlds and transports the souls of the newly deads. Human beings circulate and are not completely alive but not still completely dead. The river STYX is the border we cross, just like this EDSA which it is impossible to by-pass and which people are resigned to face daily.

Human beings are shown in their passing state. Neither completely human, nor dead. Urban and natural elements such as windows of buses, neons of the city, the vehicles which run, the condensation of the breaths, the concrete of the constructions play a role in the visual construction of this passing and intermediary state. People wander, they float and are carried and moved by the objects of this urban hell. This piece of work brings in also two other concepts. First of all, the religion. It is everywhere and presented as a solution to bear the journey from a world to the other one. It is the drug which calms by providing a divine cause to the question of why. By removing all sense of human responsibility, it deprives them any grip on their fate and helps them to accept a fate which they do not control and impose upon them.
Then, the consumption. STYX also bridges religion and advertising along EDSA. The excessive consumption pattern is another religion which acts as a palliative of the endured sufferings. Pray or consume are both hopes which accompany People in this infernal journey.