
He was once described as a “consummate visual artist.”
A Doberman dressed in velvet. A fox draped in finery. An owl staring back with the wisdom of an old soul.
Step into the world of Brent Sabas and you’ll find yourself surrounded by animals—but not the kind you’d encounter in the wild.
The acclaimed visual artist has built a distinct creative universe populated by anthropomorphic creatures that look as though they walked out of an aristocratic dream. His boars, raccoons, dogs, and birds are clothed in elegant garments, posed with quiet confidence, and placed in lush, richly detailed environments.
Tatler Asia once described him as a “consummate visual artist,” but even that title feels limiting. On social media, Sabas identifies himself as an illustrator, painter, adman, and vocalist. In reality, he is all those things and more—a former actor, animal lover, advocate, and creative whose work continues to evolve.
Today, Sabas is among the most recognizable contemporary artists in the local scene, regularly exhibiting at Galerie Stephanie and other respected galleries across Metro Manila. Yet the artistic language that would eventually define him emerged almost by accident.

“When I first started illustrating, I had no distinct style or subject matter like most young artists,” he recalls.
“The animal heads came about when I was working on my piece for Ang INK’s annual exhibit years ago. The day before the deadline, I was not feeling connected to what I was doing. I abandoned it and drew my first anthropomorphic series that same night. For some reason, I immediately felt a connection with it, and people responded positively as well. From then on, animal heads became a recurring element in my works.”
That spontaneous decision would become the foundation of an artistic identity.
At first glance, Sabas’ paintings appear whimsical and fantastical. Look closer, however, and deeper themes begin to emerge.
His works often explore identity, vulnerability, empowerment, and queerness.
“I want people to feel empowered and seen, especially the young queer boys,” he says.
“Growing up, most of the representations in the media were limited to depictions of either men or women. Wala masyadong bidang queer. Lagi silang punchlines o best friends lang. Parang hindi mo makita ang sarili mo. If my work could bring comfort to a young queer boy, even in a small way, I’d be happy.”
That mission perhaps explains his recurring fascination with dogs, particularly Dobermans and German Shepherds.
“I’ve enjoyed painting and drawing dogs, especially Dobermans and German Shepherds,” Sabas shares. “I enjoy portraying these breeds associated with strength and fearlessness, and pairing them with tenderness and femininity.”
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The contrast is intentional.
Strength and softness. Power and vulnerability. Masculinity and femininity. In Sabas’ world, opposites do not compete—they coexist.
But his work extends beyond personal identity. Some pieces engage directly with contemporary social and political issues.
In “Justice Delivered,” a crocodile clad in a barong Tagalog has its jaws pierced by a sword—an unmistakable commentary on corruption and accountability. Meanwhile, “Resistance” presents a sleek blue Doberman standing amid labor protesters, blending striking imagery with political undertones.
The social consciousness in his work is perhaps unsurprising.
A graduate of the University of the Philippines College of Fine Arts, Sabas earned a degree in Visual Communication before building a career in advertising. Today, he works as a Creative Director at an agency, balancing commercial work with his artistic practice.
Painting may not yet be his full-time profession, but it continues to open doors.
Recently, Sabas was commissioned to create a series of works for a high-end steakhouse in Singapore. For the project, he imagined a cast of elegant stags, glamorous foxes, and refined canines that complemented the restaurant’s luxurious interiors.
It is the kind of opportunity many artists dream about—and yet Sabas is already looking toward something bigger.
A solo exhibition.
“I’m putting it out in the universe,” he says. “I want to create an immersive exhibit. Like my work extending beyond the canvases and onto the walls, similar to how Yeo Kaa, Doktor Karayom, or one of my favorite artists, Yuko Higuchi, invite their audience into their worlds. I just need the time. I know it will happen.”
Given what he has already accomplished, it feels less like a dream and more like an inevitability.
Until then, audiences can continue discovering his work through gallery exhibitions and commissioned projects. Each canvas offers an invitation into a strange and beautiful kingdom where animals become mirrors of humanity—and where Brent Sabas continues to prove that art can be both wildly imaginative and deeply personal.
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