Globs of archetypal paint swipes careen through multiple pictorial planes. Traversing through a mix of past painting styles (hard-edge abstraction, color field painting, post-painterly abstraction and early 21st century neo-formalism), these paintings’ color, luminosity, texture, translucence and materiality are examined through an interplay of flat paint surface, thick impasto, hard-edge and visceral paint application. An interior dialogue/ sub-linguistic hollering float in the subconscious like entoptic images of the eye.
Hand’s position and angle, pulse, grip, arm movement, the stance of the body, painting materials, condition of light in the studio and the size of the painting in relation to the size and shape of the studio were all considered before a paint swipe was executed.
By means of abstraction, these ahistorical paintings are like visual fragmentation – or potentially reconfiguration of gestural figurative – which do not point meaning beyond themselves. No familiar representation or symbol. Just subverted individual aesthetic gesture through private iconography of a perfect game bowler/ impulsive-exacting painter.
Because “All I need are some tasty waves, a cool buzz, and I’m fine”.(Jeff Spicoli of Fast Times at Ridgemont High, 1982).
- Dominic Mangila
Installation at Reserve Ames Los Angeles
imperfect verticality of the planks
1:1 ratio of the floor
cracks and gaps on the floor,
humidity, 62 degrees, 12pm - 2pm
weathered wood surfaces,
delicately scrawled notations on the board
part numbers and maintenance for American cars from yesteryear
8 ft ceiling
glass window with markings, scratches overlooking Los Angeles
disjointed black metal frame
discarded every day and mundane objects
content as a glimpse of something
encounter like a flash
disjunction-addition (De Kooning)
chance combinations of unrelated figures,
questioning the accidents of texture (Ernst)
push and pull (Newman),
search for JMW Turner illumination,
subject and material for deconstruction by cutting some of a painting's parts,
layers overlap and forms collide
Installation at Vargas Museum Philippines
UP Vargas Museum, in cooperation with Artery Art Space and Reserve Ames Los Angeles, opens Dominic Mangila’s solo show titled I Put a Spell on You Because You’re Mine on October 17, Saturday, 7pm, at the 1F Galleries.
I Put a Spell on You Because You’re Mine explores the long standing tradition of painting (how its capacity to create a similitude of expression and idea regarding our being in the world transformed over time and how it remains a recurring enigma in reflecting why we become who we are, why we do the things that we do, how we relate to others, and what was once past, now, and perhaps tomorrow) through the translation of four disparate, cryptic meta-narratives. An amorphous assemblage/ bricolage, I Put a Spell on You Because You’re Mine invites the audience to look at the nature of painting and painting’s depiction of its nature today by focusing on the painting’s “Other” (the unknown where the sphere of its coming into being is that lies beyond what we know of painting, those things that were mirrored by painting to give it its meaning). Thus, the paintings become a backdrop of the museum space where Mangila, like a magician, allows his spectators to view the objects and performances as an exhibition with an emotional landscape, thus resonating David Joselit’s proposition that “Painting is beside itself”.